Negotiation of a Professional Cirtistic Identity
HAKING EI LIVING: FLORENCE CRRLYLE AND THE
NEGOTIATION OF A PROFESSIONAL CIRTISTIC IDENTITY
by
Susan But 1 in, B. A. (Hanours)
A thesis submitted to the
Faculty of Graduate Studies and Research
in partial fulfilment O+
the requirements for the degree O+
Master of Arts
Canadian Art Histary
Carleton University
Ottawa, Ontario
17 Aprii 1995 -91995, Susan Barbara But 1 in National Library Bibliothèque nationale 1+1 ,canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, nie Wellington Ottawa ON KIA ON4 Ottawa ON KIA ON4 Canada Canada
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This thesis examines the career o+ the Canadian painter Florence Carlyle (1864-1923) with particular focus on her negatiation O+ patriarchal barrie- to women's pro+essianal art practice. The establishment o+ Carlyle as a successful artist, in terms O+ critical response and as a +inancially independent artist who exemplified the qualities a+ the New Woman are central issues in this discussion- Chapter 1 examines the question of how Carlyle and other contemporary women artists were marginalized in the post-1945 canon O+ Canadian art histary- Chapter 2 discusses issues O+ women's access to pro+essional art training, Chapter 3 examines the strategies and alternatives Carlyle eaployed to establish and sustain her professional art practice, including issues O+ matronage and her work in commercial art in New York, The final chapter considers Carlyle's figurative paintings and examines haw her images of women contest and expand hegemonic visual representations O# femininity. ACKNOWLEDGEMENTS
1 would like to express my sincere thanks to my advisors, Natalie Luckyj and Ungela Carr, +or their advice and encouragementm In addition, 1 would also like to thank Mrs Marian flacCausland and the curator and staf+ O+ the Woodstock Art Gallery +or their assistance and support #or the project- Finally, 1 would like to express rny gratitude to the late Florence Johnston wha kindly shar-ed with me her knowledge O+ her aunt, Florence Carlyle, and who gave her support ta this project +rom the outset. Table of Contents
Page Abstract i i Acknowledgemen ts i i i Table O+ Contents iv List O+ Iliustrations V List O+ Appendices X List O+ Clbbreviations xi
Chapter 1: Locating the Artist: Introduction
Chapter 2: On the fhteshold: Early Li+e and Ectucation
Chapter 3: Brass and Copper: Earning a Living, Women Artist's Alternatives and Strategies
Chaptec 4: Figures Under Trees: Picturing Women and lmaging Landscape
Conclusion
Appendix 2: Selected Exhibitions, Auards, and Honors
Appendix 3: Tables Showing Frequency O+ Exhibitions 1890-1923
Appendix 4: Canadian women Exhibitors in the Paris Salon 1890-1896
Rppendix 5: -en Art Educators in Canada c. 1900
Appendix 6: Knoedler's Galleries* Exhibition of Paintings &y Homen Artists: List of Exhibiting Artists LIST OF ILLUSTFtATIONS
FIGURE DESCRIPTION
CHAPTER 1
1.1 Photograph of Florence Carlyle (c, Wl2), Collection WPAG, Wo~dstuck, Ontario,
Illustration with phctographs of "F, Carlyle, Emily Carr, Mrs Schreiber, El Wyn Wood, Lilias Newtonn, +rom H.0- Hammand Painting and Sculpture in Canada (LSO), p. 54,
Florence Carlyle, Afternoon, Venice k.19131, ail on canvas, 43 X 55 cm, NGC, Ottawa. A view of the Rio dei Mendicanti louking north to the Cimitero, Venice. Reproduced in The Canadian Magazine (Toronto1 52 (January 19191, 736.
Florence Carlyle, Grey and Goid (cm1910) oil on canvas, 102 X 81 cm, NGC, Ottawa, The model was Miss N. Habee of Simcoe, Ontario, Purchased +rom the artist in 1910 through the Art Association O# Montreal- Reproduced in R,H. Hubbard The National Gallery of Canada: Catalogue of Paintings and Sculpture (Ottawa and Toronto: University O+ Toronto Press, 1960) 3~40,Fig, 307,
Florence Carlyle, The Tiff Cc. WW), 184 X 135 cm, AGO, Gift O+ the Government of the Province O+ Ontario, 1972, Reproduced in Dominion of Canada IndustriaJ Exhibition, Catalogue of Department of Fine Arts (19031, p, 8,
Florence Carlyle, Hrs Carïyle / Portrait of #y Hother Florence Carlyle, An hakened Chord (cm1914) 99 X 79 cm, Anonymous illustration &ter Florence Carlyle, A Pleasant Hour ic. i9OO), reproduced in Catalogue, Twelfth Annual Exhibition of the Woman's Art Association of Canada (Toronto, lqOO), NGC Re+erence tibrary, Ottawa, Location O+ original painting unknown. 2-4 Florence Carlyle, Une dame hollandaise (c,1-3), ail on canvas, 79 X 64 cm, Private Collection. Reproduced in Florence Carlyle (WPAG, i967). 3.1 Anonymous illustration, 'Hembers of the London Art Club sketching a mdel" (cgl895), published in The DaiLy free Press (London, Ontario), 13 March 1895, n,p., Women's Art Club of London File, London Room &-&ives, LPL, Landan, Ontario, 3.2 Florence Carlyle, A Lily of Florence / Uiranda (c. l9O8), oit on canvas, 95 X 75 cm, Collectim WPAG, Woodstock, Ontario. Repraduced in Ontario Society of Artists (1911) 3.3 Florence Carlyle, La vieille victorine / Yictorine 3.4 Florence Carlyle, Portrait of Sophie Yourans (n-dm), medium unknown, 27 X 18 cm, (approx.), Private Collection, South Africa. Photograph courtesy of Florence Johnston, The subject is the artist's aunt Sophia Youmans, younger sister O+ Emily Youmans Carlyle- 3-5 Florence Carlyle, Garden at Engleuood (n, d. ) , oi 1 on canvas, 61 X 41 cm, Collection WPffi. Reproduced +rom Florence Carlyle (WPAG, 19671, Fig. 32, The model is Carlyle's younger sister Maude, Painted in the garden at Englewood, the Carlyle +amily harne in Woodstock, Ontario prior to 1914, 3.6 Florence Carlyle, Sumer Horning (c. 19031, oil on canvas, 43 X 48 cm, Collection WPAG, Woodstock, Ontario. Repraduced +rom Florence Carlyle (WPAG, 1993). 3- 7 Florence Carlyle, The fhreshold (c. 19121, oi 1 on canvas, 113 X 93 cm, Collection O+ the Government of Ontario, on Loan to WPAG, Woodstock, Ontario, Reproduced in F. Bayer The Ontario Collection (19841, 61. Painted at Englewood, the Carlyle +amily home in Woodstock, Ontario, The artist's companion Judith Hastings is the model, Florence Carlyle, Spring Sonq (cml?l2), oi l on canvas, present location unknown. Reproduced in The Canadian Magazine 44 (March 19151, 384. Painting contributed by the artist in c,1914 to the "Canadian Patriotic Fund Exhibitiont' organized by the RCA- One O+ 83 workç which toured Canada in 1914-15 to raise money +or the war effort, Photograph showing Florence Carlyle and Judith Hastings as nurses (second row down, second and third +rom left), (c-August 1915), taken at Queen Mary's Convalescent Auxiliary Hospital, Roehampton Huuçe, England- Reproduced in "Roehampton Hause as a Hospital," Country Fife (14 August 1915): 240- Photograph showing Florence Carlyle (c,l920), taken in the garden o+ her home, Yew Tree Cottage, Crowboraugh, Sussex, England. Reproduced in Hg Charlesworth, "Pictures by Florence Carlyle, " Saturday Night (Toronta> 40 Cb June 1925), n-p- The cottage, originally a workman's home on a large estate, "Sweethaws Grange", was bought by Hastings after the war- Florence Carlyle, Sea Breezes k.19081, oil on canvas, 48 X 10 cm, Collection WPAG, Waodstock, Ontario, Florence Carlyle, Portrait of Lady D~umrond (1918), oïl an canvas, 102 X 77 cm, Collection Canadian Mar Museum, Ottawa. Photograph showing Florence Carlyle and her rnother, Emily Youmans Carlyle (c.1912), taken on +runt verandah O+ "Englewood", the Carlyle family home, Wilson Street, Woadstock, Ontario, Collection WPAG- Marie Bracquemond, Tea-Tire (18801, ail on canvas, 81.5 X 61-5 cm, Musee du Petit Palais, Paris- Reproduced in W. Chadwick Horen, Art, and Society (IWO), 220, Fig, 117. Photograph O+ Florence Carlyle (cgl9fî), originally published in F. Deacon, "Representative Women: Miss Florence Carlyle," The Globe (Toronto), 8 June 1912, 4, Florence Carlyle, Blanche (cg19ll), oil on canvas, . 69 X 81 cm, (approx, 1, Private Collectian. The mode1 is Blanche Hunter who later married Russell Carlyle, the artist's youngert brother. Painted at Englewood the Carlyle family home in Woodstock, Ontario. Mary Cassatt, Young Girl Reading (18761, oïl on canvas, 34.6 X 26.7 cm, Museum o+ Fine Arts, Boston, Bequest of John 1. Spaulding. Reproduced in D. Hwpes, The Aaerican Irpressianists (19721, 31, Plate 6, Flo~enceCarlyle, Two Woren on a Balcony, Venice / The Guest, Venice (c,1913), oil on canvas, 73 X 38 cm, Collection WPAG, Woodstock, Ontaria. Repruduced in Farr and Luckyj, from #oren 's eyes (lW5), 26, Figure 21, Robert Harris, Harrony (c. 18851, oil on canvas, 30 X 24 cm, NGC, Ottawa, Florence Carlyle, Thoughts (c,1902), oïl on canvas, Qa X 38 cm, Collection WPAG, Woodstock, On tario, Florence Carlyle, Hother and Chi14 (c,1910), oil on canvas, 86 X 71 cm, Private Collection, Reproduced in "Florence Carlyle, Artist," Christras Echa (London, Ontario) December 1911. Florence Carlyle, The Daughter (c.1916), oil on canvas, 99 X 74 cm, AGH, Hamilton, Ontario. Florence Carlyle, At the Hz~ror(c,1919), oïl on canvas, 58 X 76 cm, (approx. 1, Private Collection, South Africa, Photograph courtesy of Florence Johnston. Al ice Waf ker, Hounded Feelings (18611, oil on canvas, 100-3 X 73-6 cm, The Forbes Magazine Collection, New York, Reproduced in W, Chadwick, Homen, Art, and Society (IWO), 172, Fig, 86, Florence Carlyle, The Little Flirt îc- 19091, oil on canvas, 71 X 76 cm, present location unknown. Reproduced in Florence Carlyle (WPAG, 19671, Figure 25, The mode1 is Carlyle's cousin Helene Youmans Key, Florence Carlyle, Badinage (cm1903) , present lacation unknown, Reproduced in K. Hale, "Canadian Lost Great Colorist in Florence Carlyle," Star Ueekly (Toronto), 16 June 1923, "Seaside Girl", 6idvertisement for Clearer's soap, (n, d, 1, Reproduced in T, Richards, The Cormodity viii Culture of Victorian Engiand: Advertising and SpectacIe 1852-1914 C l99O), 228, Figure 41 Text reads, " 'The- was only one person saved +rom the wreck a young girl and she with the clevemess O+ her sex had taken a piece of Clearer's Terebene Soap and washed herse1f ashore ' (extract +mm pirate letter), " 4.15 Paul Peel, Cottage Interior / Spinning (18821, oïl on canvas, 119-4 X 89-6 cm, AGH, The Bert and Barbara Stitt Family Collection, Hamilton, Ontario, Reprpduced in V, Baker Paul Peel: A Retrospective 1860-1892 (LRAGHM: l986), 108, Figure 17- 4-16 Florence Carlyle, Seated Lady (c.1890), oïl on canvas, 39 X 48 cm, Collection WPAG, Woadstock, Ontario, Reproduced in Florence Carlyle (WPAG, 1993). 4-17 Florence Carlyle, Old Woman In a Dooruay 4-18 Florence Carlyle, Spinning Moman (c-18971, 27 X 41 cm, (approx, 1, Private Collection, South A+rica, Photograph courtesy of Florence Jahnston- 4-17 "Impressions-Woman's Art Exhibit" (18971, Saturday Night (Toronto) 10, 6 March 1897, p, 1, The parody of Carlyle's painting Spinning Homan (c,1897) is lacated in the upper right corner, ,20 Anonymous Sketch after Florence Carlyle's Honday Horning (c-18981, in James Mavor, Notes on Appreciation of Art and on Art in Ontario with Remarks on the Exhibition of the Ontario Society of Artists (Toronto, 18981, p, 8, Location O+ Carlyle's painting Uonday norning unknown, firthur Hasker, The Drone (f899), Reproduced in Bram Di jksta, Idois of Perversity (l986), pl 175, Fig, VI-3. Photograph showing Florence Carlyle and Judith Hastings at Alpine Club of Canada Camp, VermiLIi~n Pass, British Columbia, (1912) Artist on le+L Collection WPaG, Woodstock, Ontario- LIST OF APPENDICES Append i x Descript ion Page Selected Exhibit ions, Awards, 205 and Honors Tables Showing Frequency of Exhibitions 1890-1923 Canadian Wamen Exhibi tors in 318 the Paris Salon 1890-1896 Wamen Art Educators in Canada 319 c .1900 Knoedler's Galleries' Exhibition 324 of Paintinys &y Hosen Artists: List of Exhibitin9 Artists List of Abbmviations AAM Art Assûciation of Montreal 3UF Pan-Amercan Exposition, Bu+#alo, N,Y- 1901 ZFi I Warld's Calumbian Exposition, Chicaoo 189s CNE Canadian Natiunal Exhibition (T~rontol CNEA Canadian Natianal Exhibition Archives (Toronto) DCIE Dominion Canada Industrial Exhibi tian {Toronto) DE Dominion Exhibition (Halifax) DES Domin ion Exh ib i t ion Sherbrooke, Quebec 1907 DSE Dominian and States ExhibitionsT London, Eng. FA Fifth Avenüe Ur-t Galleries, New York, N.Y. HULL HÜ~F,Engfand KNO Knuedler's Gaf leries, NEW York, N. Y. i) Liverpool, England OSA Ontario Society ai Artists (Torontoi PENNA Pennsylvania Acaderny of the Fine Arts, Philadel~hia PF Fatriotic Fund Exhibition PSALON Salon of the Société des Artistes Français, Paris RG Royal Academy RAC Rochester Art Club, Rochester, N, Y, SC& Rûyal Canad ian Academy SAA Society O+ Amer-ican Artiçts. N.Y., N-Y. ÇT. L St, Louis Wavld's Fair, Louisiana Puîchase Exposition SUT Çutcliffe Sale, N~NYork, N.Y, TIE Toranto Industrial Exhibition WAAC Woman 's Art Association of Canaua WGACA Woman 's Art Association of Canada Archives (Torontoi MAC Women's Art Club (London, Ontariol MF Westet-n Fair (London, Ontario) MIB Winnipeg Industrial Bureau Exhibition LOCATING THE ARTIST: INTRODUCTION The very materials at the historian's disposal are far +mm neutral. The historical archive is a fissured, fragmentary murerit to the past, shaped in and by historically specific relations between pouet and knouledge hich have determined who is recorded, when, where and hou. Recent feminist scholarship in art history asserts that art is a product of social canditions and stratesies bath o+ which create and perpetuate sexual di++erence.= During the Late nineteenth century the barriers to a woman becoming a pro+essional artiçt in Canada were numerous. In order to achieve and sustain her status not only did a woman have ta negotiate stereotypic notions of femininity, she also had to overcome patt-iarchal barriers. Throughout the nineteenth century women artists in Europe and North America worked amid patriarchal de+initions O+ femininity in which the ideal of womenhood was seen as subordinate, dependent, circumscribed by and focused upon the private sphere of the home. The title a# this thesis signals the strand o+ inquiry to be explored in the li+e and work O+ one of these women--the Canadian artist Florence Carlyle (1864- 1923). This analysis seeks to reclaim and document the historical presence of Florence Carlyle as a Canadian artist, In addition it will consider how Carlyle negctiated contemporary barriers to women artists in artistic production and professionalism to establish herself, in her own lifetime, as a critically acclaimed pro+essional artist thus challenging the exclusivity O+ masculine claims to pro+essionalisn. Futhermare, the question of how socially contrived barriers structured what she produced will be examined. The +oundations of nineteenth-century de+initions O+ +ernininity lay firmly rooted in the context O+ the eighteenth century Enlightenment and can be linked to the work O+ men such as Jean-Jacques Rousseau, who denied the equality of men and women on grounds of law or nature-= According to art historian Whitney Chadwick, Rousseau was in+ luential in the identification O+ femininity with nature and beiieving that rmreri lacked the intellectual capacities of men, he argued that they had no abifity to contribute to art and the mrk of civilizatim apart +mm their doaiestic role~.~ By the nineteenth century this produced a rigid polarizing and "naturalizing" O# sexual difference inscribed not only in definitions of femininity but also social expectations of women's role in the arts. fis Chadwick points out, The characterization of nonien's art as biologically determined or as an extension of their domestic and refining mle in Society reached its apogee in the nineteenth century. It nas mst clearly expmssed in a bourgeais ideolcgy which defined separate spheres for activity by men and woaien, including the practice of art3 Patriarchal barriers to women becoming pro+essional artists began in the family. While it was ccnsidered appropriate for middle and upper class girls to be "accomplished" in such arts as watercolour painting, needlework, and singing, this encouragement was limited to that o# a competent amateur,' Women artists during much O+ the nineteenth century were de+ined by and in turn understood themselves in relation to these social constructions O+ femininity- In the struggle for a professional career women artists came into conflict with the prescribed ideas a+ wonanhood and had little choice but to negotiate a broad spectrum O+ gender- based barriersm7 Far women the conditions O+ artistic praduction and professionalism in the late nineteenth century ranged +rom controlled conditions O+ entry and institutionalized sexual dif+erence in schools, pro+essional associations, and art criticism to the delineation O+ appropriate subject matter +or women and other +orms of creative oppression, Women who were artists during this period were more af+ected than their male peers by these socially contrived boundaries, canstraints, and conditions gaverning art practice, Despite the barriers in place at the end O+ the nineteenth century, however, some wamen were able to negotiate a significant position and establish a pro+essional identity in the world of Canadian art practice, and it is this process that +orms the focus a+ this study, In her examinatian a+ women artiçts working during the n ineteenth cen tury Deborah Cherry has observed that, Ferininities and idmtities nybe perceived as discursively constituted, governed by specific foras of power and anchored by a range of cweting instit~tions.~ There+ore, on the assumption that social farces in place at the time are ref lected in institutional structures and practices, this thesis will examine the issues of entrante, professionaliçm, production and representations of fernininity as they relate tu Carlyle's li+e and career as pro+essional artist. As Cherry points out, nineteenth-century wmen artists were Shaped in and by the social formation of sexual difference...Cand in negotiating this context3 woœn farged feminine professional idmtities and diffemtiated ways of mrking2 This thesis marks the first hl1 examination of Carlyle's pro-fessional career and contextualization of her art production in light a+ issues O# gender, class and canternporary artistic practice. This thesis will argue that Carlyle was able to negotiate the conditions a+ contemporary artistic production in Canada and establish herself as a significant professional artist because O+ her self-determination, as revealed in ber responses and strategies +or negotiating the barriers she encountered, and her independent spirit and wi 11 ingness to question or disregard gender or societal based restrictions. (Fig. 1.1) The conditions o+ entry into professional artistic practice during the nineteenth century o+ten limited or discouraged access by women, Not only was professional art training considered un+eminine but the requirements O+ art practice, which +avored independence, cornpetition and public visibility, were qualities associated solely with male artists. tliddle- class wamen who desired a professicmal career were obliged to contest the view that they ought not to work outside the home nor earn money: kkien,..artists challenged the exclusivity of masculine claims to pmfessimaliça: neither their location in the pmfession...nor their activities in a capitalist econmy coincided with those of bourgeois mm, Institutionalired sexual difference can easily be +ound in exclusion or separateness within professional art schools, artist associations, and in the reception O+ women artistes work. By entering the public world of artistic practice women artists were +lying in the face o+ the assumption that professional art activity was the exclusive preçerve of men, Pmfessionalism nas mst vocifemusly claimeci as aasculine by...middl-lass rierilm.The laquage and institutians of art,..CpffiitimedJ +emininitysmWasthe very antithesis of the professional artist, as amateur, a definition secureâ by the inclusion in middle-class m'seducation of the doœstic practice of draning and watercolours as an accomplishmentii Chapter Two will examine Carlyle's background, education and early professional career, specifically in the context of the conditions of Carlyle's artistic production and professionalism, Her negotiation O+ patriarchal restrictions upon entrante and institutionalized sexual dif+erences that she encountered, and the strategies she used to establish a successfu~pro+essional practice wilL be examined in connection with issues of gender, class and social barriers in an e#+ort to #oreground the artistes motivated and self-determined drive toward her goal of professional art practice, Carlyle's pro+essional career (c.1890-1923) spanned a period O+ monumental changes *or warnen. New definitions O+ femininity and changes in women's rights at the turn O+ the century expanded women 's roles and expectat ions and increased the number of career alternatives +or women artists. In 1893 when Carlyle participated in her +irst international exhibitian, the World's Columbian Exposition in Chicago, women were involved in the struggle +or equal rights, for the vote, and to have their achievements recognized as equal to those O+ men, The preface to the o+ficial handbook of the Woman's Building stated that the Exposition had given women, "an unprecedented opportunity to present to the world a justification of her claim ta be placed on cornplete equality with man. "12 While depictions a+ the private, domestîc sphere are central to a consideration of Carlyle's work, she also worked in and depicted the public world--areas that were traditionally the exclusive preserve O+ male artists, Chapter Three explores the strategies, alternatives and discourses that Carlyle employed in order to negotiate the conditions O+ artistic production and to sustain her professional practice. Throughout her career Carlyle's use a+ these strategies was varied and creative- She was a teacher of art in both private commercial practice and public, pro+essional schools O+ art- She also sustained her pro#essional practîce with commercial art commissions while working concurrently on private portrait commissions- Consideration of the great range of subjects and spaces in Carlyle's oeuvre, encompassing as it does both the private, domestic sphere and spaces and subjects of the public world is central to a balanced examination a# her work, Carlyle's exhibition history reveals that she was a +requent exhibitor in both Canada and the United States. a= For approximately thirteen years Carlyle lived and worked intermittently in New York and had close prdessional ties ta the United States. During the last ten years of her life she resided in England where she extended her pro-fessional career to include literary expression, Warld War I had a signîficant impact on Carlyle's art production as seen in an altered exhibition pattern, and in the artist's persona1 involvement in the war ef f art, While considering how social construction of fernininity may have affected Carlyle's li+e it is also possible to consider how that structure shaped what she produced. In an article on the work of Suzanne Valadon (1865-19381, Rosemary Betterton asserts that it is necessary to look at how the background and position O+ a woman artist af+ected her work. betterton nates that, A wman artist cannot be as- to have 'seen' differently fra her =le contemporaries, but i t can be arguecl that the particular farce o+ her experimce produced work mich uas differently phced nithin the dominant fom of representatim of her period.14 Griselda Pollock points out that during the late nineteenth century, "both what and how men and women painted Cwas determined by3 a historical assyrnmetry-a dif+erence socially, economically, subjectively Cconditionedl, ,,This dif+eronce-Cwas3 the product O+ the social structuration O+ sexual dif+erence and not any imaginary biological distincti~n,"~~It has been demonstrated that during the Late nineteenth century women artists did not have access to the same sub jects or spaces as their male peers. IL General ly speaking, this dichotomy may be described as male artists having access to the public world whereas women artists hcused on private areas or domestic space,z7 Janet Wolf+ also notes that in the nineteenth crentury city, women were conf ined to private li+e, "whi le men retained the +reedom to move in the crowd or to +requent ca+es and pubs, This +reedom within the public sphere, available to male artists yet denied to women artists, is aptly demonstrated by the figure of the flaneur-the "stroller," at home on the streets and arcades O+ the city, "The flaneur is the rnudern hera; his experience,,,,is that of a freedom to rnove about in the city, observing and being observed,,.,They are, O+ course, all men. " Places depicted in the paintings O+ nineteenth-century women artists represent onLy the range of locations and subjects open tu wornen where they could move freely. Griselda Pollock refers to these as the "spaces of femininity," depictions a+ labour and/or leisure in the domestic sphere. These "spaces of femininity" also include some exterior and public spaces such as public and private gardens and balconi~s.- Carlyle was praised for her representations of the private domestic sphere, the spaces of fernin~nity.~~Chapter Four examines some of Carlyle's paintings dealing with this subject matter and diçcusses Carlyle's exploration O+ the domestic spaces of Labour and representations of femininity in order to examine the artist's diverse images of women. Such subjects, and indeed the "spaces of femininity," appear as central and recurring concerns in Carlyle's oeu~ce.=~ Carlyle's oeuvre contains a wide and varied range o+ genre +igure painting, portraits, still life paintings and landscapes, including Alpine landscapes painted at the Alpine Club of Canada's remote camp in British Columbia. However, she was best known as a figure painter. Earfy in Carlyle's career, and following her ~uccessfulRoyal Cariadian Academy exhibition in 1898, a Canadian newspaper assessed her interests, "While appreciat ing the beaut les and attractions of landscape, she +eels most strongly drawn to figure painting, and there ïs no doubt that this talented young lady will make this branch of art her li+e's st~dy."=~Reviews o+ Carlyle's work noted her reputation as a figure painter and as a painter O+ "domestic life". M.O. Hammcrnd noted, "She was highly successful as a figure painter and was +ond O+ domestic interi~rs,"~~The Toronto Globe in a review of her rnemorial exhibit wrote, It is as a figure painter that Hiss Carlyle will be chiefly mme&ered...scenes of doœstic life, often of the fireside, or the cr-umplace duties of the kitchen, or the recreation hou- of the music-roor.- This thesis will examine Carlyle's life and artistic production in the light O+ contemporary feminist discourse, her negatiatiun 0-f the conditions governing art practice, and her activity towards her goal to establish and sustain an identity as a pro+essional artist, L 1 TERATURE REV 1EW 'History is part of the way in uhich we have been de+ ined by men, n2L Before discussing the life and work O+ Florence Carlyle it is necessary ta establish the context by first examining how her wark has been assessed in art-historical literature. This section begins with a discussion of the marginaLization O# Carlyle and ather Canadian women artists in the historical record and with a consideration of issues of gender, In addition this section examines rontemporary asseçsments, biographical dictionaries, art historical texts and exhibition catalogues. The literature review laoks at such issues as how the framing of a canon O+ Canadian art history during the twentieth century impacted an the treatment accorded Carlyle by noting and camparing Carlyle's critical mception during the active years O# her career with later art historical writing in Canada. Maria Tippett begins her recent book on Canadian women artists By A Lady with the observation that "Through three centuries of art-making in Canada, wumen artists have been ignored, forgotten and marginal ized- " She continues, " 1t is not surprising, then, that with very +ew exceptions Cwamen3.. ,have been omitted +rom b~oksdealing with Canadian art. "17 In general terms this statement çuccinctly describes the treatment accorded late nineteenth century women artists, such as Florence Carlyle, in Canadian art histarical texts; however, it does not ronsider how the work of Carlyle was received by the art journalists of her day. Neither dces Tippett address-the questions of how and why successful nineteenth century women artists were marginalized in the canon a+ Canadian art history. Such omissions are especially evident in the surveys of Canadian art history written since 1945. Not only are Canadian female artists underepresented as a group in these texts, but more signif icantly, the success+ul careers O+ many late nineteenth-century women artists such as Carlyle are ignored and thereby do not accurately re-flect the prominence of such women artists, the strength a+ the critical acclaim or the in+luence they assumed during their lifetirne~.~~ The question O+ why this situation occurred begs a response, Why were successful, vital and pra#essional women artists such as Carlyle, not deemed worthy a+ inclusion in post Warld War II surveys O+ Canadian art? The lack af documentation on the careers O+ turn-O+-the-cen tury wumen artists is only a partial explanation since male contemporaries did not suffer the same +ate. Despite recognition of women artists at the time of their pro+essional activity Pamela Gerrish Nunn suggests that the systematic writing of "a sel+ serving history O+ art has largely suppressed, ..Victorian women artists-" She proposes that the "art historians' corporate neglect Cof nineteenth-century women artistsl,,.cannot be explained by anything other than prejudice- " Nunn adds that art historians' recognition of women artists would "Cdivert3 attention +rom traditianal idols, "=- This situation has many parallels to the inclusions and exclusions of Carlyle whose work received fuller recognition in earlier Canadian art literature than in Canadian art histary texts written after 1940- During this period when the process af systematiring the canon o+ Canadian art histcry was being formalized many women artists +rom the earlier periods were consciously excluded. Whether their careers were active at or near the time O+ publication seems ta have been an important +actar in their inclusion, Those, such as Carlyle, with periods of greatest activity predating 1914, are the artists who su++er the greatest neglectœSo It has been suggested that the power+ul ethas of the northern landcicape mati +, wh ich was long considered synonymous with Canadian identity and artistic vision, may have been an important factor in the neglect of this earlier generation o+ women pain ter^.^^ It has also been observed that women painters during the period 1890-1930 tended to portray the figure rather than Xands~ape.~= As some writers note, landscape tended to be the domain O+ male painters- Tippett claims that "Women artists contributed littfe to landscape painting tbefore 19141." She suggests that the lack of "identi+iable locations" in landscape painting5 by women, çuch as the mountains of ban++, "served more than anything eLse to set what women were doing apart +rom the work of men," Tippett implies that the landscapes produced by women were undervalued because they were done +rom "their ranches, backyards or on the outskirts a+ the towns or cities where they lived" and not in the wildernes~.~~The fact that Carlyle painted alpine landscapes in the mountains a+ British Columbia c.1912 while attending the Alpine Club's camp in Vermillian Pass serves to challenge Tippett's assertions that the work a+ Canadian women artists was marginalized because they failed ta interpret the Canadian wilderness before 1914, Carlyle's activity with the Alpine Club O+ Canada is examined in Chapter Four. Canadian art historical writing of the 1940s thraugh the 1970s attests to the high value placed on the images of nmrthern landscape by the dominant discourse, In contrast figura1 painting was not considered as slgnificant, nor was it assaciated with a Canadian nationalistic vision in the same way as landscape subjects, Rlthough Carlyle painted and exhibited Landscapes she received recognition during hcr lifetime primarily as a figure painter. The devaluing of figure painting by the dominant discourse in Canadian art historical writing was an additional +actor in the relegaticm O# Carlyle ta virtual obscurity in texts written a+ter 1940, Deborah Cherry, in her introduction to Painting Women, raises the issue that "the formation of historical records in the past and in the present is necessarily central tu a feminist politics O+ kno~ledge."~~Cherry draws on Michel Foucault's insights into the relations O+ power and knowledge for her analysis of women artists in the nineteenth century. She points out that the formation of historical records is far +rom neutral and that the very visibility O+ individuals, the surviving documentation, and even contemporary historical inquiry is determined by relations O+ power,33 Thus, an analysis of nineteenth century Canadian women artists must be alert to the historical conditions and dominant discourses that saturate and structure the historical records, and privilege the social constructions O+ gender and subject matter- The paradox that many nineteenth century women artists received +uller recognition and better critical caverage during their lifetimes, in contemporary books, articles and reviews, than they have in more recent writing has also been discussed with reference to the general histories O+ warnen artists, by Razsika Parker and Griselda Pollock in #Id Mistresses: Woren, Art and Idealogy published in 1981- By the late nineteenth ~eritury~,.historia't~of art c~ild...record the persistent presence of noriien Cartistsl-,.Contenrporary nineteenth-century writings-.-recorded the existence of uomen artkts Cyetl art histarically twomen's art3 was relegated to a wecial category which was presented as distinct froai mainstream cultural activity-.-Hodern art history produces a picture of the history of art fr~nwhich wom are not mly absent, but identifies wornen...as inevitable and naturally artists of lesser talent and no historical signif ican~e.~~ A similar paradox exists in the case of Canadian women arti~ts-~~During her lifetime Florence Carlyle was accorded far better recognition and critical coverage, not only in Canada but also in the United States and Europe, than she has received in more recent Canadian art literature, The waning of Carlyle's professional recognition a+ter her death in 1923, her +al1 into marginality, and ultimately into almost total obscurity in Canadian art writing is a scenario that occurred with many of Carlyle's contemporaries who were women arti~ts-~~ During her professional career Florence Carlyle received regular and notable recagnition in the contemporary art periodicals, newspapers and Canadian art texts, While she was still a student in Paris her work attracted admiring attention from the Paris critics when she exhibited in the Salon-sg A London periodical, The Gentleuoman, was sufficiently impressed by her work tu publish an interview in 1895 which noted that, Miss Flomce Carlyle Lis froril, ., ,Woodstock, Ontario, a small tom rrhere the- are no advantages of art training, In spite of al1 drawbacks her gmt love of painting...asserted itself,,,Lshel caœ to Paris to study,.,During tm successive years she exhibited in the Salm and her work nas ne11 spoken of,--1t is full of power and promise.- While still a student in France, Carlyle sent several works back to Canada and the United States to be shown in exhibitions and her work attracted favorable attention f rom the critics. 4i On her return to Canada, a+ter six years O+ study abroad, she was a regular exhibitor in the major Canadian exhibitions a+ the time, such as the Royal Canadian Acaderny, the Art Qssociation O+ Montreal, the Ontario Society of Artists and the Women's Art Asso~iation.~~Carlyle's work was +requently discussed in reviews of major exhibitions in Canada between 1895 when she sent wark ta shows in Canada +rom Paris and 1914 when she moved to England. Reviews appeared in Toronto periodicals and newspapers such as The Globe, the Telegram, the Daily News, The #ail and Empire, and Saturday Niqht, as well as in the Montreal Standard, and Uontreal Star. Carlyle's work was also discussed in national publications such as the Canadian Magazine, Hacleans Magazine, and The Canadian Courier, Given the social barriers to professional status, late nineteenth-century Canadian women artists received a surprising amaunt O+ recognition in the popular contemporary Canadian art press O+ the time.44 In addition to positive newspaper reviews in Canada and awards and honours bestowed both ln Canada and the United States, Carlyle received much attention in popular Canadian art periodicals of the daym4= Many O+ these articles, such as Nadge MacBeth's 1914 series, "Canadian Uomen in the Arts," focused on Carlyle's career alongside that of her peers- -women famous in Canada not only as painters but in the fields O+ music and theater, MacBeth when speaking O+ success+ul wamen in the arts notes that In the field of,..art,,,,we fCanadians3 have #rr representatives, riany of them so internaticmally famus that they are claimeci by the mrld,..and it is forgotten to give Canada the credit for being their country of birth.,,The story of..,CFlorcence Carlyle's1 cliiib into an enviable position in the artistic mrld should inspire any vho nay be prone to,,.grow discouraged.- Other articles, such as "Painters and the Public, " published early in Carlyle's career, illustrated and discussed her work alongside that O+ other prominent contemporary women painters in Canadame7 Margaret Bell's article "Women and Art in Canada" included Carlyle among a study o+ other contemporary women artist~,~~In 1912, arguably at the height O+ her professional activi ty and populari ty, the Toronto Globe devoted an extensive article to Carlyle in a series entitled, "Representative Women,"49 By 1913 Carlyle was ranked amung Canadian critics as one a+ the best contemporary women painters an the continent, second only ta her colleague, Laura Muntz Throughout her career the critics, although not unanimously positive in their reviewç, seldom remained silent about Carlyle's work. The popularity of her paintings among the North American public is attested by the numerous published articles citing her work, by press descriptions of her attendance at art exhibitions, and by reporting of the public's response to her w~rk,~~EquaLly importantly, between 1900-1910 Carlyle achieved an entree into the popular culture O+ North America with the reproduction O+ her paintings in fine art calendars by the Osborne calendar Company based in New York.s= A biographical sketch of Carlyle appended to these calendars, confirms the status she had achievd. Miss Carlyle has beem represented in almst al1 the iwortant exhibitions in Cberica and the fine sincerity and buoyant enthusiasm shm in her rmrk has Led scme critics to regard her as the greatest maan painter of figures in Clniericam..her pictu- Creproduced in thel Osborne Art Calendars each year, winning inense and increasing appreciatim frm people scattered al1 aver the Englisfi-speaking norld- -a great tribute to the truth and pouer of her artm== fhus, Carlyle's work during the period O+ her pro+essional activity was well knawn and admired by contemporary critics, collectors and a broad public in Canada and the United States. Carlyle's position as a significant woman artist is further evidenced by her inclusion in key dictionaries of biography published in Canada during her li+etime or just follcbwing her death in 1923, The earliest O+ these, Henry Morgan's The Canadian #en and Yorer, of the Tiie (i898), published two years after her return +rom art studies in Paris, details her education, exhibitions, praicieworthy remarks -+rom her Parisian instructors, f avorab le reviews and her membersh ip in pro+essional associations- Faurteen years later, in the 1912 edition her entry was updated with less +ocus upon her education and more on her professional art practice in Canada and New York City along with a current exhibition history and listing a? prizes awarded to her, This reinforces her status as one O+ the leading Canadian women artists of her day.- W. Stewart Wallace's The Dictionary of Canadian Bioqraphy (1926) published three years a#ter Carlyle's death, dreu on Morgan's 1912 publication, but, in addition, highlighted Carlyle's signi+icance as an acclaimed figure paintermSs Two more recent Canadian dictionaries O+ biography and art, unlikg more recent narrative texts, both contain substantial re+erences to Florence Carlyle. Colin MacDonald's A Dictionary of Canadian Artists (1967) contains an extensive biography o+ Carlyle and draws on varied sources such as exhibition cataf agues, newspaper articles, obituaries and contemparary critic's cornments on the artist's workosL Carlyle's career is also outlined in a substantial re+erence in 3, Russell Harper's Early Painters and Engravers in Canada (1970). The first lines O+ Harper's entry on Carlyle pay particular attention to the speci+ir painters in Paris under whorn she studied, Painter, Daughter of William Carlyle, Oxford Cty,, Ont., a public schml inspecter and nephew of Thorras Carlyle. Ta Paris with Paul Peel (q.v. and Hildred Peel (q.v. 1, for +ive years of study at academies under 1. Rabert-Fleury, Lefebvre, Bouguereau, Rolshoven, and Del~l~se~"- It 1s interesting ta note the patriarchial overtones in Harper's entry, for unlike the male artists in the same work, Carlyle's status as a serious artist requires the validation of the famous men in her life-mentors, teachers, or relatives. This +ocus implies thst because she was a waman artist her success was more a function of her relatianship with these men than it was dependent on her own talent and hard work, Such a view is also supported by Harper's exclusion of Carlyle +rom both the 1966 and 1977 editions of his book Painting in Canada: A History- s- 1 t seems highf y 1 ikely, there+ore, that Harper included Carlyle in Early Painters and Engravets in Canada only because O+ her marked recognition in earlier Canadian biographies not because a+ his own respect +or her work. The scope of Carlyle's career and recognition outside Canada is also ran+ir-med by ber inclusion in dictionaries of artists from Britain, France, and the United States, The Dictionary of British Artists 1880-1940 records Carlyle in its Listing of +orty-one thousarid British artists. She is identi+ied as a Vigure painter" who exhibited in Britain between 1896 and 1921, The galleries and total number a+ works exhibited are identifîed as well as her addresses while in Britaings9 The Dictionary of Victorzan Painters (19781 has a similar entry with the nate that she also painted portraits and still-life and exhibited at the Royal Academy between 1896 and 1921. Carlyle is mentioned brie+ly in Chris Petteys* Dictionary of Homen Artists: An International Dictionary of Woren Artists born before 1900 (1782) In Benezit's Dictionnaire critique et documentaire des Peintres, Sculpteurs, Dessinateurs et Graveurs (1976) the entry on Carlyle +ocuses on her professional affiliations and gives details of some o+ her later saleslLJ Attesting to her professional connections with American artistic circles during her li+etime, Carlyle is cited as an American artist in #ha Mas Who in American Art (19851, the entry limited to a description o-f her as a painter who worked in New York City during the first decade of this cen tury. 6" LOST AND FOUND : CRRLYLE CIND THE TEXTS OF CCSNADICSN CIRT HISTORY The historical reccvery of women artists is necessary, as Griselda Pollock tells us, "because of the consistent obliteration of their activity.., in art hist~ry,"~~As Parker and Pollock note in Old Nistresses, this marginalization of women's practice in art hnctioned "as the means by which masculinity gains and sustains its supremacy in the important sphere of cultural produ~tion,"~~Two misconceptions that historical recovery must refute are firstly, that there were na great women artists, This problern was explored in Linda NochLin's important article, "Why have there been no great women artist~?".~~Secondly, historical recavery must dismantle the traditionally held belie-f that women artists admitted tu the canon of art history are second ratemLL The argument for the recovery O+ Canadian women artiçts, such as Carlyle, is +ounded upan these premises, For the past sixty-#ive years little has been written on the work of the painter Florence Carlyle, It will be demonstrated in the following examination of standard accounts of Canadian art, that when she is included at all, Carlyle is accorded a marginal place. One of the earliest surveys of Canadian art is the chapter "Painting and Sculpture in Canada," published in 1914 as part of a series entitled Canada and Its Provinces. The author-, E,F.B. Johnston was one of the most important Canadian art critics O+ the tirne. Carlyle appears in a section devated to women artists. The entry includes thoughtful analysis o+ her style, recognition of her professional status, and she is compared +avorably with other Canadian artists: tCarlyle1 is a brilliant and facile painter. tkr figures depend to a considerable extent upm the fine mssing of rich colwr, and frequently the value of line in long sueeping curvature is better illustrateci in her mrk than in that of any other Canadian artist...her art shows talent of a high ~rder,~~ Newton MacTavish, another in+luential and articulate art critic working in Canada be+ore World Mar II, published The Fine &ts in Canada, the +irst camprcehensive survey O+ Canadian art, in 1925, Once again Carlyle was positioned in a chapter specif ically devoted to "Canadian Women Painters, " She is accorded aimost an entire page o+ ample discussion, including evidence O+ the critical acclaim which she received during her li+etime, Zn addition Carlyle is represented by a full page iLLustration O+ one o+ her paintings, In this chapier and in the biugraphical notes appended to his text, MacTavish discusses over forty women artists, many of whom were Carlyle's contemporaries, This number is approximately twice as many as those re-ferred to by Harper and Reid in survey texts written some forty years later, MacTavish brackets Carlyle's entry with those O+ her contemporaries Laura Muntz Lyall (1860-1930) and Sydney Strickland Tully (1869-1911). MacTavish 's writi ng is notable +or its inclusion of professional women artists O+ this period and is indicative of the number O# pru-Fessianal, +ull-time women artists, who were held in high esteem during the period of Carlyle's career, wumen who wauld with few exceptions be virtually written out o+ Canadian art historical surveys in subsequen t years- In Painting and Sculptu~ein Canada a "brie+ survey" of Canadian art written by M.O. Hammond in 1730, the mode1 of dedicating a chapter to "Women Painters" is continued- A nurnber of Carlyle's contemporaries are discussed, including Sidney Strickland Tully, Mary Augusta Hiester Reid (1854-19211, and Laura Muntz Lyall. Photographie portraits of Carlyle and +our additional wornen artists are illustrated, indicating the high esteem placed on Carlyle's work in 1930mL9 (Fis. 1.2) Signi+icantly Carlyle is not discussed in Hammond's chapter devoted ta wamen artists, but positioned instead with a short critique of her work and highlights O# her education and career alongside the wark of contemporary male artists in the earl ier chapter entitled "The Emergence O+ a National Art. "70 It is important to note that Carlyle was the only woman included by Hammond in this identification and celebration of a "group of painters" who were instrumental in moving art in Canada toward "something like a national professi~n-"~~ Carlyle is re-positioned within a national context only eight years a+ter her death, marking a signif irant recontextualization of her art- Hammond's nationalist theme appears even more sign if ican t when one considers the exhaustive surveys written during the 1950s and 60s- In Hammond's 1930 text Carlyle was included along with male artists identified as contributing to the "emergence a+ a national art" whereas now Carlyle's contributians are disregarded in favour O+ the male artists identi+ied by Hammond in 1930- In this later canon William Blair Bruce (1859-1906), George A. Reid (1860-19471, J-W. Morrice il865-1%?4), and Paul Peel (1860-18921 retained their high nationalistic positioning in the history of Canadian art, Hammond's recognition of Carlyle as a prominent national artist contrasts significantly with her treatment by A.H. Robson in Canadian Landscape Painters (1932). Althaugh Carlyle is included in the author's List o+ women painters who "came into praminence" in Toronto at the beginning O+ this century, Robson positions these women as "prominent exhibitors in the field of portraiture and figure painting," He concedes that they "Csometimes introducedl landscape settings with ef fect iveness and marked abi l i ty- "'= Thus, while Robson recognized Carlyle's importance in the history O+ Canadian art and her potential for landscape painting, he did not describe her ar the other women as "Landscape artists." Landscape painting was the preeminent subject rnatter O+ many significant contemporary male artists and Robson's pcsitioning of women artists clearly presumes a secondary categary for women a5 Landscape painters, 74 In 1938 a unique anecdotal critique of Canadian art and artists written by Newton MacTavish and entitled Ars Longa included several important late nineteenth century wornen painters. both Carlyle and Laura Muntz Lyall have a ctiapter devoted to them, In the chapter on Carlyle, MacTavish relates a story of his visit ta the painter in her studio in Woodstock, He speaks of her +riendship with the author and poet Isabel Ecclestone Mackay (1875-1928) and O+ Carlyle's close association with Thomas Jenkins O+ the Jenkins* Galleries in Toronto-7s Using a bantering anecdotal style, MacTavish personalizes the presentation of Carlyle as well as describing the contemparary context and her links with women in the artistic community of Oxford County. In addition, MacTavish examines Carlyle's pro#essional status by including pragmatic aspects o-f her art practice such as marketing, sales and relat ionships wi th major art dealers. One year a-+ter Ars Longa Graham McInnes8 published A Short History of Canadian Art (1939)- McInnes describes Carlyle as, "the first woman painter whose wark had in it more than the adventitious charrn that accampanies dabb2ing."7L "Adventitious" is defined as coming +rom outside, accidental, ~asual,~~Thus, in one succinct sentence McXnnes has dismissed as dabblers al1 women artists prior to Carlyle. Their status as professionals is derided with the implication being that any merit in their work is to be viewed as accidental. A more condescending inclusion in Canadian art could hard ly be imagined +or Carlyle whose previous ranking had been among those professianal painters who contributed significantly to a "national art" in Canada. Graham McInnes' revised edition in 1950 positions Carlyle as an example o+ the "solid painters" of the 1880s and 1890s- Significantly, she is the lone woman to be given this distinction, Hawever, McInnes' praise is somewhat of a backhanded compliment when he states Florence Carlyle (1864-1923) is noteworthy as being me of the first Cnorwil painters irho did not need to follow John Howard's advice and 'affix the uord 'Lady*' to her paintings, William Colgate in his survey Canadian Art: Its Origin and Developrent (1943) devoted considerable space to art at the turn O+ the centurylm* However, it is significant he ornits women artists +rom this period who had formerly been accorded recognition in earlier surveys O+ Canadian art history. For example, Sidney Strickfand Tully and Mary Eveiyn Wrinch Reid are listed only as students at the Ontario School o+ Art and Design, Similarly, Laura Muntz Lyafl, described during her- li+etirne as the foremost +igure painter in North America, appears only on a list O+ exhibitors with the Canadian Art Clubœm* Carlyle is not mentioned in the text and is excluded +rom the appendix listing Canadian painters. In the 1967 reissue the foreword proclaimed the "authoritative record", "objective attitude" and "historic detachment" o+ Colgate's textgP= The omission of women artists, including Carlyle, remained intact. Thus this text, originally published in 1943, marks the beginning O+ a serious marginaliration O+ Carlyle and her contemporaries- Donald W, Buchanan, a CO-editor a+ Canadian Art, published The Grouth of Canadian Painting in 1950œB= This survey continues the model o+ Calgate in the exclusion of Florence Carlyle, In the 1960s a number o+ surveys of Canadian art history, which pro-fessed to be balanced and objective accounts were published, R.H. Hubbard's An Anthdogy of Canadian Art (19601, +ocussed upon the Canadian collection at the National Gallery of Canada.04 Although this institution owned two paintings by Carlyle, Afternoon, Venice (c. 1913) and Grey and GoLd (cllSlO), Hubbard includes neither- (Figs. 1-3 and 1.4) This omission is even more ironic given that Hubbard criticized the earlier writers of Canadian art literature for "acute myopia" noting that the +irst balanced historical sketch O+ Canadian art did not appear until i939.03 One O+ the main primers of Canadian art history, J. Russell Harper's Painting in Canada: A History, published in 1966 and reissued in a second edition in 1977, was produced as part of the celebration O+ Canada's ~entennial.'~ Once again, women artists active in Canada during the 1880's and 1890es, are marginalized in this centennial celebration of the o+ficial histm-y of Canadian art. In his chapter, "The New Dominion, 1867-1910", Harper presents a candescending and dismissive tone in his treatment o+ wcmen artistç. For example, the Women's Art fissociation of Canada (WAAC) annual exhibitions of Canadian artists work, held in several centers across Canada, facilitated the careers O+ many Canadian women artists including that O+ Florence Carlyle, O7 Carlyle is not mentioned although her contemporary taura Muntz Lyalf merits a dubious comment, as an example of an artist who "failed to accornplish al1 that her Parisian study pr~rnised."~~Whiie it may be said that Harper included more examples of late nineteenth century women artists than texts by McInnes and Buchanan, these women are negatively des~ribed.~~ One glaring example of exclu5ion based on gender is Harper's documentation a+ painters awarded hcnors at the Bu+falo Pan- American Exhibition in 1901. Hale artists only are presented by Harper despite Carlyle's award cf an honorable mention for her painting Golden Rod.*O Dennis Reid in his text, A Concise History of Canadian Painting (1973 and l988), rontinued the practice of excluding mention O+ Carlyle.9i Indeed Reid's index lists only twenty- twa Canadian #@male artists rompared with two hundred and seven male artists. 6 roughly similar ratio is found in Harper's Painting in Canada: A History (19661. Of the twenty-two +emale artists mentioned in Reid's book only six are women who had active careers in the years before 1945, The women artists who were active during the late nineteenth century, and renowned as professionals on a par with male peers, such as Carlyle, Laura Muntr Lyall and Helen McNicoll (1879-19151 were written out O+ Reid's hi~tory.~~ Barry Lord's socialist survey The History of Painting in Canada: Toward A People's Art (1974) does nat mentian Carlyle.9s Although he includes a section un Canadian artists concerned with documenting Canadian workers, he limited the discussion to traditional male occupations, woodworking, lumbering, and mining-94 Lard thus overiooked the art ist ic explaration a+ domestic work per+ormed by women, a subject common in Carlyle's oeuvre,- One may ask the question, does this oversight occur because he has adopted the traditional view of devaluing the labour O+ wumen in the home? The task o+ researching women artists and reclaiming their historical presence began in earnest in the mid-1970s with the 1976 exhibition, Uoren Rrtists: 1550- 1950, curated by Ann Sutherland Harris and Linda Nochlin, the first comprehensive survey a+ Eurapean and American wamen artistslWA The 1975 exhibition entitled Frar Uoren's Eyes: Homen Painters in Canada is an example o+ a similar historical recovery in Canadian art historyœW7 More than +orty years a+ter the books by Newtan Macfavish and fl.0. Hammond, Florence Carlyle and her contemporaries were again recognized as prdessional artists, signi+icant in the histarical context of Canadian art.-- Following this exhibition Canadian women artists were the subject of a number O# exhibitions and other scholarly research in this area inciuded Julia Gualtieri's (1989) thesis, 99 In 1992 the first general survey text devoted exclusively to women artists in Canada, Maria Tippett's By A Lady= Celebrating Three Centuries of Art by Canadian Woren was publi~hed.~~Tippett's book has been criticised +or its +allure to address the many feminist issues that are part of current art-historical discaurse, In By A Lady Tippett presentci a stylistic analysis of The Tiff by Carlyle (c.1902) and yet ignores the larger social and economic barriers to women 's art practice and pro+essionalism. (Fig. 1-51 Art historian Griselda Pollack notes that, "it was only in the twentieth century, with the establishment o-f art history as an institutionafized academic discipline, that most art history systematically obl i terated women artists +ram the record. Pollock's observation supports the conclusion that Carlyle's exclusion fram the canon a+ Canadian art histary, beginning with the poçt World War II texts, wa5 grounded in gender based biases, As we have seen, Carlyle was a su~cess+ulprofessional artist during her li+etime, Contemporary critical reception recognized her as such during her life and after her death in 192s this reputation continued to be acknawledged in the Canadian art historical writings of Newton MacTavish and M-O, Hammond. However by 1939 the positioning OS Carlyle as a 5uccessful pro+essi~nalCanadian artist is severely rhallenged in McInnes8 (1939) abbreviated and negative discussion O+ her career. A further recasting of the canon is demonstrated by the marginalization and repositioning of Carlyle autside the canon O+ Canadian art history in the post WorLd War II texts of Colgate (19431, McInnes (19501, Buchanan (19501, Hubbard (19601, Harper (1966, 1977), Reid (1973, 19881, and Lord (1974)- In general, it may be abserved that the more distant the text writers were in time from the careers of women such as Carlyle the greater the likelihood O+ wamen artists being written out of the o+ficial versions of Canadian art history, As the quotatian at the beginning O# this chapter points out, the historical archive, like the construction o+ an art history canon, is +ar +rom neutral, as an examination of the wandering position of Carlyle within the Canadian art history canon suggests. Ferninist art historians note that while inrluded in contemporary writings, nineteenth century women artists are identified by much of modern art history as "O+ lesser talent and no historical ~igni-ficance."~~~Further insight into the reasons for Carlyle's marginalization in the post WorLd War II period is provided by Pamela Gerrish Nunn's assertion that systematic writing O+ art history excluded nineteenth century women art ists to avoid "tdiverting J attention fram traditional iciol~."*~~ Against the background of most post World Mar II textual surveys the following chapter will now bring ta light how Carlyle negotiated barriers of entry to pro+essional practice and institutianaiized sexual dif+erences to establish her career as a pro+essional artist. Notes tu Chapter One 1. Deborah Cherry, Pain ting Yomen : Victorian Yoien Artists (London and hieu York: Routledge, 19931, 6. 2, Particularly significant for the analysis of nineteenth century women artists are Rozsika Parker and Griselda Pollock, OId îfistresses: Uoaen, Art and ldeofogy 2d ed. (Mu York and London: Pandora Press, 1986); Charlotte Elizabeth Yeldham, Homen Artists in Uineteenth-Century England and France (Neri York and London, 1984); Rozsika Parker, The Subversive Stitchr Embroidery and the Haking of the ferninine (London: The bham's Press, 1984); Paarela Gerrish Nunn, Victoriam Utmen Artists (London: ben's Press, 1987); Griselda Pollock, Visio~and Difference: Ferininity, Ferinism and Histories of Art (Londori and New York: Rautledge, 19881; Cherry, Painting #men. 3. Whitney Chadwick, Yoren, Art and Society (London: Tharses and Hudson, 19921, 34- 4, Ibid., 34. 5. Ibid,, 3s. 6. Cherry, Painting Uomen, 9, 7. for insightful discussions of the barriers to men becoming pmfessimal artists during this time see, the introduction ta Cherry, Painting Women, 1-16. See also chapter 2, "Issues and Ideas," in tSunn, Victorian Uomen Artirtr, 15-67. 8. Cherry, Painting Yoaen, 12. 9. Ibid., 9. 10. Ibid. 11. Ibid. 12. Preface to Art and Handicraft in the Yoman 's Building, ed. Haud Hone Elliott, quoted in Chadwick, Woaea, Art, and Society, 230. 13. See Appendix 2, Selected Exhibitions. 14- Rosemary Betterton, "kdo woaen look? The fernale nude in the work of Suzanne Valadon," in Looking On: Images of femininity in the Visual Arts and Media, ed. R. Betterton (London and New York: Pandora Press, 19871, 222-223. 15. Pollock, "Modernity and the Spaces of Femininity, in Vision and Difference, 55. 16. Ibid., 62. The restrictions an a wuman's aovement in the public world is express& by the painter Marie Bashkirtseff (1859-84) in a jwrnal entry of January 1879, nhere she wrote: mat 1 long for is the +-or of going about alme, of cming and going, of sitting in the seats of the Tuileries, and especially in the Luxeiibourg, of stopping and lmking at the artistic shops, of mtering churches and museuas, of ualking abat the old streets at night; that's what 1 long for; and that's the freedom without nhich one cannot becose a real artist, Do you imagine that 1 get auch gad +mm nhat 1 see, chapemeci as 1 am, and hm, in arder to go to the Lwvre, 1 iust wait for iy carriage, riy lady coripanion and family?...This is one of the principal reasons uhy the- are no ferale artists. Marie Bashkirtseff, The Journal of Marie Bashkirtseff, trans. AD. Hall (Chicago and New York: Rand, kNally & Co., 1890) ; quoted in Kathleen 8dler and Taaiar Garb, Berthe Uutisot (Oxford: Phaidon, 1987), 16. Bashkirtseff studied at the Acadeœie Julian and exhibited at the Paris Salon 1882-84. Althuugh Carlyle did not arrive in Paris until 1890, she uas acccmpanied cm the journey by Paul Peel (1860-18921 and his sister tlildred Peel (1856-1922), and doubtless simifar restrictians to the movereent of women were still in place. Florence E. Deacon, "Represmtative Woaien: Flomce Carlyle, * The Globe (Toronto), 8 June 1912, 4, 17. Pollock, Vision and Difference, 62. 16. Janet bdolff, "The Invisible Flaneuse," in Feminine Sentences: Essays on Moien and Culture (Berkeley and Los Angeles: üniversity of California Press, 19901, 40. 19. Ibid., 38-39. 20. Pollwrk, Vision and Difference, 56, 21. Critical admiration for her paintings of the domestic sphere are evident in reviews throughaut her career and will be discussed in Chapter Four. 22- The term "spaces of femininity" is defined by Pollock as Locations represented in paintings by woeen artists and oay al50 =fer to the spatial order or structure within paintings. Locations for the 'spaces of femininity" include private areas or domestic spaces such as, "dining-roms, drawing-rwœs, bedroms, balconies/verandas, private gardens". men paintings are lacated in the public doreain "spaces of femininityn may include the "spaces of buurgeois recreati~,display and...social rituals which constituted polite society." Spaces of femininity may al- include spaces of labour, including child care. Locations available to male artists, but restricted to wmen artists, such as bars, cafes, backstage, areas in the "public world of the stmts, popular entertainment and commercial or casual sexual exchange" are not included in the definition of the "spaces of femininity", Pollock, "Ndernity and the Spaces of Feaininity", in Vision and Difference, 56, 62. 23. *Painters and the Public," The Uail and Empire (Toronto) Christmas, 1898, f 4. 24. M. O. Hammond, 'Leading Canadian Artists: Represwitative Fainters and Sculptors Fmm Eariy Days in Canada to the Present," Unidentified newspaper article, c.Phy 1923, Artist Files, Woodstock Public 8rt Gallery, Waodstock, Ontario (WPffi). 25. "Art and Artists," The Globe (Torcmto) 6 June 1925, 15. 26. Sheila Rawbottom, Introduction ta the Aierican Editim, Hidden froa History, 1974, p. XX; quated in Worah Cherry, Painting Manen: Victorian #oren Artists (Rochdale: Rochdale Art Gallery, 19871, 16. 27- Maria Tippett, By A Lady: Cefebrating Three Centuries of Art by Canadian Mmen (Toronto and London: Viking. 19921, p. XI. 28- Far further discussion of this issue see introducticm to Julia Fiualtieri, "The idman as Artist and as abject in Canadian Painting (1890-1930): Florence Carlyle, Laura fluntz Lyall, Hel= HcNicoll, ' (KA., Queen's University, Kingston, Ontario, 1989). 29. Nunn, Victorian #onen Artists, 2, 30. Gualtieri, "The Woaran as Artist, " 28. 31. Tippett, By A Lady, 35. See also, P. Walton, "Beauty Ry Histmss, " Journal of Canadian Art History, 15,1 (19941: 5- 6. 32. Gualtieri, "The Wman as Artist," 40; see alsa Tippett, By A Lady, 35. 33. Tippett, By A Lady, 34. Tippett's discussion of landscape painting and woaren artists has recently been criticised as "Lcamplicit3 with the dominant discourseu which valued landscape over figurative painting. In a recent revieu of By A Lady Janice Helland notes "Tippett claims that woaien artists uere restricted in their attenpts at landscape painting ... instead, Canadian men rernained content, for the most part, with the maternité theme, " the iaplication being that this kind of domestic painting, even when interesting and technically pmficient, was not as significant as landscape painting," see Janice Helland, *Review of By A Lady, by Maria Tippett, " The Journal of Canadian Rrt History 15, (1994) : 132- 33. 34. Cherry, Painting Uoaen, 6. 35. Ibid,, 6-7. 36, Parker and Pollock, Old Histresses, 44-45. 37. Gualtieri, "The Woman as Artist," 13. 38. This scenaria of success and recognition during the lifetime O+ a wman artist and subsequent exclusicm from later texts a+ Canadian art history may be said to apply to several of Carlyle's çontemporaries, for example, Laura Muntz Lyall (1860-19301, Helen HcNiroll (18?9-I9lS) and Sidney Strickland Tully (l860-lWI). 39. "Nus Artistes a Paris, Mlle. F. Carlyle," Organe des intérèts Canadians et Frmfais, Paris (20 ilai 1893). Mle. F. Carlyle, de Toronto, peint simplement, sans pretentim, \t surtout sans a l'effet, lbsolwent come elle voit son mdele: n'est-ce pas le plus grand œrite et celui pui denote une nature pleine de pmœse ? La tête de sa vieil le feme est bien rendue dans ce tari et l'œil étudié avec soin nous mmtre, par un art descret, comœ elle I'a dessiné avec awiur. Malgré 11 rude epreuve du voisinage de deux portrits de Bonnat, ce tableau conserve sa note persannelte et vraie; ce n'est pas peu dire, Le grand peintre Jule Lefebvre a félicité tout particulièrement la jeune artiste; c'est la plus qu'un encairageœnt, déjà une recorpense. A year later, in 1894, a Frcench critic cornaienteci on Carlyle's mrk on exhibit in the Paris salan: Deux tableaux au Salm des aiaqs-Elysk de Mlle Carlyle, dont nais avions signalé les oeuvrys ~Aédenteset le succ&s qu'elle avaient obtenu aupres des bais juges. Cette fois, la jeune et gracieuse artiste, si richement dm-, expose deux d6licieuses toiles. Sec Paul Fabre, Organe des Interets Canadians et Francais (Paris) 9 Juin 1894. (Infamation courtesy of Marian 17aclausland, Woodstack, Ontario, Septeriber 1993.1 40. Carlyle was interviewed while visiting England during the suntrner of 1895, see "Florence CarXyie," The Genttewoman (London, England), IO August 1895, n.p-, Artist Files, WA6. 41, Carlyle sent a painting to be exhibited at the brld's CoLumbian Exposition in Chicago in 1893. Five Canadian artists were anarded mdals nith gold medals to "Walker, Reid, Candl Harris" and a silver &al to "Miss Carlyle". R. Holmes, "The Royal Canadian Rcadecny," Saturday Uiqht (18 April 1908) : 11. See also Hugh G.Jones, History of the Royal Canadian Acadeiy of Arts, TS, 1934, Carleton University Library, Carlyle sent Victarine/La vieifle victorine to Canada ta be exhibited at the Art Association O+ Hontreal exhibition in March, 1895. It appeared as number 24, La vieille victorine and was offered for sale at the price of $200. In April of that same year La vieille victorine was in the Royal Canadian kademy Exhibition in Toronto and Carlyle's address was given as "Paris, France," see Evelyn de R. McHann, HontreaI Huseum of Fine Arts, foraerly Art Association of Montreal, Spring Exhibitions 1800-1970 (Toronto: University of Toronto Press, 19881, 59. Royal Canadian Academy of Art (18951, 8. 42- See appendix 2, Exhibitions, 43. Critics reviewing her work included ktor Charlesuorth, Lynn C. Doyle, Roy Franklin Fleming, Jean Grant, M.0, Hammond, Estelle M. Kerr, Fergus Kyle, and Noman Pattemon. 44. Gualtieri, The Mosan as Rrtist, 28. See also entries on individual artists in Grace Heggie and 6ordon Adshead, eds- An Index to Saturday Uight: The First Fifty Years, 18874937 (Toronto: Micromedia Ltd., 1987) , 45. Carlyle's awards included, in 1893, silver medal at the World's Columbian Exposition, Chicago in 1901, honorable mention at the Pan+herican Exposition, Buffalo, New York in 1901 and the annual ClSi award for The Tiff; 19û4, silver medal at the St,Louis World's Fair, Louisiana Purchase Exposition in 1304- See alsa Appendix 2. 46. Madge flacBeth, "Canadian Wornen in the arts," Macleans Hagazine (Tomnt01 Qctober 1914, 23-25, 105-108, 47. "Painters and the Public, " The Uaii and Empire, (Toronto) Christmas 1898, 12-15. 48. iiawaret Bell, %nnen and CIrt in Canada," Everywman's llorld (Toranto) June 1914, 7, 15, 30. 49. Florence E. Deacon, "Repreçentative baten: Hiss Florence Carlyle," Globe (Tomto), 8 June 1912, 4. 50. Esteile M. Kerr, "The Artist," Saturday Might, (Tomnto) 7 June 1913, 29. 51. In 1903 the social column of Saturday Hight magazine reported on a conversation, overheard during the opening night festivities of the ûSA, between Carlyle and ME. Dicksm Pattern, a fellow student in Paris. The same article relayed viewers' reactions to Badinage, me of Carlyle's paintings on view at the time, see *Social and Personal," Saturday Uight (Toronto), 14 tlarch 1403, 3. Ten years later, in 1913, a story about the OÇA exhibition reported a young couple's r-eactim to Carlyle's painting On the Threshold. "Points About People: In an Art Gallery," Saturday Uight (Toronto), 19 @ri1 1913, 3. 52. Osborne Calendar Company, New York and London. For further discussion of the prize won and Carlyle's subsequent work for the Osborne coapany in New York City 1900-1910, see Chapter Three. 53. Title-leaf +mm Osborne calendar, Aluays Room for One More, c.1900-1910. Artist's Files, WPfl6. 54. Henry krgan, The Canadian #en and iiomen of the Tfae 1st ed. (Toronto: William Briggs, 18981, 156-57, see also Henry Morgan The Canadian ifen and Homen of the Tiie 2nd ed. i 1912) , 200, for review of Carlyle's work included in the 1912 edition. The quotation was from "Painters and the Public," naif and Empire, (Christmas 1898) and p.7 of this manuscript and note 21 above. 55. W. Stewart Wallace, The Dictionary of Canadian Biography (Tarumto: Macmillan, 1326), 67. 56. Colin S. kchnald, A Dictionary of Canadian Artists, (Ottawa: Canadian paperbacks, l967), 1: 115-16. 57. J. Russell Harper, Early Painters and Engravers in Canada (Toronto: tlniversity of Tomnto Press, 19701, 58. 58. J. Russell Haver, Painting in Canada : A History (Toronto: University of Tormto Press, 1966). 59. J. Johnson and A. Greutmer, The DLctionary of British Artists 1880-1940 (Woodbridge, Suffolk: Antique Collecter's Club, 19761, 97. 60. Christapher Wwd, The Dictionary of Victorian Painters, 2nd ed (Woodbridge, Suffolk: Antique Collectors' Club, l978), 82. Chris Petteys, Dictionary of Yoaen Artists : An international Dictionary of Uomen Artists Born Before l9OO (Boston: 6.K. Hall, 19821, 122. 61. E. Benezit ed., Dictionnaire critique et documentaire des Peintres, Sculpteurs, Dessinateurs et Graveurs (Paris: Librairie Grund, 19761, 531. 62. Peter Hastings Falk, ed. #ho was iiho in American Art (Hadison, Ct,: Sound Vien Press, 19851, 102. 63. Pollock, "Hodernity and the Spaces of Femininity," in Vision and Vifference, 55. 64. Pollock and Parker, Old #isttesses, 169-170, quoted in Cherry, Painting Yomen, 2, 65. Linda Nochlin, 'Why have there been no grceat woaien artists ?" in Art and Sexual Politzcs, eds. E. bker and Tm ks(London: Collier Iiacmillan, 1973). 66. Pollock, "tiodernity and the Spaces of Femininity," 55. 67. E.F.B. Johnstm, "Painting and Sculpture in Canada, in "The Dominion, Missions; Arts and tetters, Part II, Canada and Its Provinces, eds. A. Short and A. bghty, (Toronto: 61asgon, Brook and Co,, f914), 12: 6-26, 68. Newton kciavish, The Fine Arts in Canada (Toronto: Hacmillan, l9E), 141. 69. The other nortien in the photo gmuping were Charlotte M.B. Çchreiber (1834-1922)-the first and mly woman to date in 1930 to be elected as an kademician nith the RCA, Emily Carr (1871-19451, Elizabeth Myn Wood (1903-19661, and LiLian Torrance Newtm (1896-19801, 5ee H.O. HasrilMld, Painting and Sculpture in Canada (Tomnto: Ryerson Press, 193O), 54. Carlyle's hometaun of Woodstock, Ontario has attempted to keep local interest in her wark alive with exhibitions of the artist'ç work which date +mm the 1930's and continue presently at the WPfiG, 5ee, for example, "Florence Carlyle's Memory Lives in Her Native City," Daily Sentinel-Revzeu (Moudstock, Ont. 1, 8 February 1936, n.p,, Artist Files, WPffi. The Woadstock Art Gallery bsociatian sponsored a #emarial Exhibition of Carlyle's paintings nhich opened February 6, 1936 with a lecture on the artist. See, "Hemory O+ Florence Carlyle Honared by Art Association, " Uaily Sentinei-Revieu (Woadstock, ûnt.), 7 February 1936, n-p., CIrtist Files, PM; see also, "Florence Carlyle's Hemry Lives in Her Native City," Daily Sentinel-Revie~, 8 February 1936, nep., Artist Files, WPffi, In February of 1967 the Oxford CMlnty Art ksociation presented a centennial exhibition and catalogue on the work of Florence Carlyle. Fiorence Carlyle, (WPfiG, Woodstock, Ontario, 1967)- See also, "Open Carlyle Art Exhibit," Vaily Sentinel-Review, 2 Fe4ruary 1967, n-p., Artist Files, WPffi. Acquisitions of Carlyle's work by the Waodstock kt Gallery has continued to the present day. For example, "Carlyle Canvas at Gallery," Daily Sentinel-Revie~, 12 Rugust 1957, n.p.; and "Permanent Col lect ion of Gallery on Display, " Vaily Sentinel-Review, 16 August 1976, n.p.; and, E. Payne, "6allery Unveils New Carlyle," Daiiy Sentinel-Revieu, 2 Decernber 1983, n.p., all fmm Artist Files, WAG. 70. Hammmd, Painting and Sculpture in Canada, 26. 71. Ibid., 23. 72. Ibid., 23-35. 73. A. H. Robson, Canadian Landscape Painters (Tomnto: Ryerson Press, 19321, 161. 74, Although Carlyle overwhelmingly exhibited portraiture and figura1 works, she also exhibited landscapes, one of which was purchased by the National Gallery of Canada in 1913-an acquisition which suggests the artist's merit as a landscape painter. kfternom, Venice was purchased fmm Carlyle at the Royal Madian Academy exhibition held in Piontreal in November, 1913 for $175.00 and is preserrtly in the collection af the National Gallery of Canada collection, Ottana. E. HcHann, Royal Canadian Acadery of Art: Exhibitions and Neabers, 1880- 1979 (Toronto: University of Toronto Press, 19811, 62. It depicts a view af the Rio dei hdicanti looking north to the Ciaitem in Venice, see David McTavish, Canadian Artists in Venice, 1880-1930 (Kingston: Agnes Etherington Art Centre, Queen's Urtiversity, 19841, 49. It was likely painted during Carlyle's trip to Italy with Judith Hastings c,January-Navember 1913. For further information see hppendix 1. . Newtan MacTavish, &S Longa (Toronto: The Ontario Publishing Co. Ltd-, f938), 106-109. Further biographical infornratim on Isabel Ecclestone Mackay (nee ?lacpherson), see Horgan, Canadian Hen and Yoaen, 1912, 696, and Wallace, Dictionary of Canadian Biography, 461, 76. Graham McInnes, A Short History of Canadian Art (Tamnto: Macmillan, l939), M. 77, The Concise Oxford Dictionary, 6th ed. (Oxford: Clarendon, 1976), 15. 78, Note for example, MacTavish, 1925; Hasuw#id, 1930; Robson, 1932, as discussed above- 79. Mclnnes, foreward to A Short History of Canadian Art, 2d ed, rev, (Toronto: Placaillan, lm),p. v, 45, 80. William Cofgate, Canadian Art: Its Origin and Deveopment (Tomnto: The Ryerson Press, 1943). 81, The writer and artist Estelle Kerr described Lyall as the forwiost figure painter in North herica in 1913, see, Estelle M. Kerr, "The hrtist, " Saturday #ight (Toronto) 26 (7 June 19131, 29, 82. Charles W. Jefferys foreword to William Colgate, Canadian Art: Its Origin and Development (Toronto: The Ryersm Press, 1967 paperback ed.1, vii-viii. 83. Donald W. Buchanan, The Growth of Canadian Painting (London and Toranto: Col1 ins, 1950). 84. R-if. Hubbarû, ed., An hthology of Canadian Art (Toronto: Oxford University Press, 1960) . 85. Ibid,, 167-168. Hubbard is referring to McInnes's A Short History of Canadian kt (1939). 86, J. Russell Harper, Painting in Canada: A History (Toronto: Ckiiversity of Tormto Press, 196éI. For an example of natirnalistic discussion see foreworû to 1966 edition. 87. For further information un the Wwnen's Art Association of Canada see fillison Thompsm, "A Worthy Place in the Art of our Country : The Wumen's Art Association of Canada 1887- 1987" (MA, Carleton University, Ottawa, Ontario, 1989). 88. Harper, Painting in Canada, (1966), 253. 89, Ibid., 245, 255. 90. Ibid., 233. The Jury of CIwards for the Pan-rican Exposition, bufhlo, New York, 1901 prefaced the stateeient of awards noting that the exhibition 'is the mst coqlete and repmtative exhibition of American art ever yet got together, Aleost all of the works collected were solicited for the exhibition by the Director of Fine Arts,. ..sa that the mere presence of a nork of art in this collection is of itself a certificate of merit." 601d niedals in painting were awarded to John S. Sargent, Thorsas Eakîns, and Winslow Homer. Mary Cassatt nas awarded a silver medal. Honors awaded ta Canadian wmen artists in the painting category included, Laura Iluntz, silver medal; Sidney Stricicland Tully, Mary H. Read, and Florence Carlyle, honorable mention, see "Art Award5 at Buffalo," Me# York Times, 7 August 1901, 7, 91. Demis Reid, A Concise History of Canadian Painting (Toronto: Oxford University Press, 1973). 92, Gualtieri, "The kiorsan as Artist", 22-23. 93, Barry Lord, The History of Painting in Canada: To~ardA People's Art (Toronto: New Canada, 1974). 94, Ibid., 97-99, 95. The subject natter of washing laundry or hanging it out to dry recurs in many paintings by Carlyle, for example, Yasher#oman f nada 1, Ronday Morning Cc. 18981, and Garden at Engle~od(c, 1913). Other scenes of dmtic work are seen in Carlyle's Peeling Potatoes (c.1898), Spinning Uoman ic.1897), Sketch, Darning Stockiags îc. 18971, The First Pie (cmIPûû), and a painting of a woaran leaning on her brom, High Hoon / Uoman in a Doorrray (n,d.). 96, Linda Nachlin and Arin Sutherland Harris, Uomen htists: 1SSû-1950 (New York: AlTred A. Knopf, 1976). Nochlin and Sutherland Harris curated the exhibition, and collaborated on the catalogue, Homen Artists 1550-1950, at the Los Angeles Museun of Fine Art in 1976. Griselda Pollock writing about this publication has said, "Al1 feminist art historians are indebted to the çcholarship and initiative of these two authars. Their exhibition and its catalogue are a major contribution without which the arguments here mounted would not have been possible," see Pollock, Vision and Difference, 204, note 37. One Canadian woman artist, Eniily Carr, is included in this catalogue, the first major study of minen artists in EngLish since Walter Shaw Sparrow's 1905 book Uomen Painters of the World: From the Tiae of Caterina Vigri (1413-14631 to Rosa Bonheur and the Present Day (London: HDdder and Stoughton, 1905; reprinted by Hacker Art Books, New York, 1976). Before 1905 there were three English language books on womn artists, all by wmen: Elizabeth Fries Lummis Ellet, Yomen Artists in Aff Ages and Countries (New York: Mrper and Brothers, 18591, Ellen Creathorne Clayton, Engiish Femaïe Artists, 2 vols. (London, 1876), and Clara Erskine Clement Waters, Yomen in the Fine Arts: From the 7th Century ROC, to the 20th Century AIDO (Boston: Houghton Hifflin W., fW; reprinted in 1974 by Hacker Art Books, New York). Of the nineteenth and early tumtieth century surveys of women artists previously discussed only me Canadian woaran, Laura îluntz Lyail is mentioned, by Waters, 245. Whitney Chadwick's Yomen, Art, and Society (Landon: Thames and Hudsan, 1992) is a broad survey of North brican and European women artists covering a number of historical periods and several different societies- 97. Domthy Farr and Natalie Luckyj, From Moaen's Eyes: Yoaea Painters in Canada (Kingston: AQnes Etherington CIrt Cetitre, 1975). 98. Ibid., 1-6- 99- One of these is Natalie Luckyj's 1983 catalogue for the exhbition Visions and Victorias: 10 Canadian iitmen Artists 1914-1945 (London, Ontario: London Regional Art Gallery, 1983). The raost active yearr of Carlyle's career fell outside the period covered by the exhibition, Thus, Mile Carlyle iras not included in the exhibitim the documentation of such areas as 'The First World War and After," and the chmnology "Woren in Canadian Life," are invaluable in recovering the context in ubich Carlyle and an earlier generatian of woen artists norked. Exhibitions which have focused un the mrk of Canadian noaen painters include, Natalie Luckyj, Expressions of Hill: The Art of Prudence Heuard (Kingston: Rgnes Etherington Art Centre, 1%), Karen htaki, Eaily Coonan 11885-19711 iMontrea1: Concordia Art Gallery, 19871, and Butlin, Florence Carlyle. Gualtieri 's thesis, "The ban 4s Wtist," focused on varias aspects of the life and nork O+ Laura iluntz Lyall, Helen HcNicoll, and Florence Carlyle. 100. Tippett, By A Lady. 101. Janice Helland's review points out that Tippett ignores the theoretical gmundwork laid by other art historians, "Although she repeatedly refers to the influence that womn like Cassatt and Horisot might have had on Canadian wonren artists, Tippett ignores Griselda Pallock's "Mudernity and the Spaces of Femininity"...fnolff's "The Culture of Separate Spheres". .. and, perhaps more signif icantly, Panela Gerrish Nunn's seminal work, Victorian Nomen Artists," see Helland, review of By A Lady, 132. 102. Pollock, "Feminist Art Histories and Harxism," in Vision and Difference, 23-24. 103, Parker and Pollock, Old Uistresses, 44-45. 104. Nunn, Victorian Yomen ktists, 2. ON THE THRESHOLD : EARLY LIFE AM) EDUCCITION 1 hmor every maan wha has stmgth mmgh to step out of the beatm path when she feels that her walk lies in another; stmgth enargh to stand up and be laughed at, if necessary...,But in a few years it wifl nat be thwght strange that uoœn should be preachers and sculptors, and every one hocoœs after us will have to bear fewer and feuer blarrs. fherefore 1 say, f hmor al1 those who step baldly forward, and, in spite of ridicule and criticism, pave a bmader way for the mneci of the next grneration,* Harriet Hosrer (1820-1908) Elizabeth Ellet writing in 1859 identified the importance O# the family in shaping women's desires and aspirations. familial and broader social contexts could either #acilitate or discourage a woman fram pursuing a career as a pro+essionaL artist." As Griselda Pollock explains, "we cannot ignore the +act that the terrains O* artistic practice and of art history are structured in and structuring of gender pawer relation^."^ This chapter will examine the ways in which Florence Carlyle's early life, education and artistic training contributed to her +ormation as an artist within the context of contemporary patriarchial strategies and social structures. A brief biographical sketch of Carlyle's farnily and early li+e serves to preSace the discussion, highlighting points of significance with specific reference to the social context. Born in the town of Galt, in "Canada West," on 24 September 1864, Carlyle was the second eldest child wîth three younger sisters, and four brothers including an elder brother, William.4 Both O+ Carlyle's parents were middle class, well-educated pro+essional teachersmS Her rnother, Emily Youmans Carlyle (1834-19131, having trained to be a teacher at Fort Edward Collegiate Institute in New York State, accepted a position as the principal O+ a ladies' college in North Carolina, (Fig, 2-1) A+ter working for several years she was compelled to return to Canada in 1860 upon the outbreak a+ the American Civil War.& In keeping with accepted practice Youmans gave up her teaching career when she married in 1861. A dedicated and determined woman, she encouraged excellence in education and was especially interested in art, arranging sketching and painting lessions #or al1 her childrenm7 Florence Carlyle's father, William Carlyle (l834-l9ll), quali+ied as a teacher at seventeen and continued his studies at Fort Edward Collegiate where he first met Emily Yo~rnans.~ He taught for a short time be+are his appointment in 1871 to the position O# Inspector O+ Public Schools for the county of Ox-Ford, a post he held until 1910. As a result O+ this appointment the famify moved to Woadstock in 1871a9 A nephew of the nineteenth century British esçayist and social historian Thomas Carlyle, William Carlyle is described as "inheriting much of the cleverness and the abstraction of Chis +amous uncle'sl erratic geni~s."~~ Although both parents placed a high value on individual accomplishrnent and educational achievement +or their children, settïng themselves apart +rom the conventional nineteenth century ideas of a more restrictive education +ar women, Carlyle's brothers were advantaged over their sisters in their access to higher education. Art had long been a component a+ a middle-class female education, with emphasis placed on accompl ishments in çuch areas as embroidery, sketching and painting, In working-class families more emphasis was placed on practical arts such as weaving, quilting, knitting, and clothing design, which were taught in the home, In bath cases art education was primarily designed to prepare women for their domestic rolemSi Lt is within this broader context that Carlyle's education will be exam ined . Throughout the years of Carlyle's childhood and adolescence, the late 1860s and 70s, the education and sociafization O+ middle class girls was devoted ta inculcating domesticity. Commonly held assumptions o+ what constituted +emininity at this time took for granted that a woman's prirnary interest should be in marriage and family- Young wamen were socializ~dtu fulfill the roles O+ wi+e and mother and to give priority to the activities of "breeding, nurturing and servicing/"'= Acceptable complementary activities were o+ten philanthropie, altruistic and not for persona1 gain/= For example, fundraising or charity work was admired,i4 Carlyle's later devotion to charity and war work in the First World Mar demonstrate the influence o+ her mother and societal rein-forcement of such altruistic behavior for women. The prdession O+ artist and the role of mother/wi+e were assumed ta be mutually exclusive, The educational requirements, lifestyle, contact with public and commercial li+e--in short, the requirements oS practice +or a prdessional artist, were viewed as antithetical to those O# wife/mother and contemporary definitions of +emininity.Is A woman of Carlyle's age and social class, while wishing to develop abilities as an artist, yet retain respectable status, had little choice but to walk a tightrope of conditians and expectatians, Female involvement in commercial or professional art enterprises was considered unbecoming in large part because the desire a+ women to seek financial gains from the sale of art work challenged conventional ideals O+ femininity- Furthermare, ta draw attention to oneself in the public sphere wa5 deemed indecorous and immodest. In the mid-nineteenth century public exhibition of works by amateur wumen artists had often been presented anonymcusly by the use o+ the phrase "by a Lady". Wamen artists' participation in amateur exhibitions was acceptable since these exhibitions were not deemed to be serious or commercial ventures,z7 While still a student Carlyle desired ta make her wark available within a public exhibition context. Working within the prescribed social constructions O+ femininity a+ nineteenth century rural Canada, Florence Carlyle +irst exhibited her painting5 publicly in the early 1880s in the annual exhibitions within the Ladies Department O+ the Toronto Industrial Exhibition Ln these early +orays into the public warld o-f artistic practice, Carlyle positioned hersel+ as an amateur +grnale artist, accomplished in the +eminine domestic practice of drawing and painting- Al though Carlyle exhibited within the acceptable sphere O+ +emale amateur in a "Ladies Department", commercial works were also present thraughout all the art departments at the exhibition. Thus, at an early age Carlyle was clearly prepared to challenge convention and ta make her work availabfe within a commercial public exhibition context, While commercial concerns were a matter O+ course to the male artist during the nineteenth century, +or women who aspired to a professional artistic career, such public aspi rat ion chal lenged social norms and convent ianal de+initions of femininity. However, public recognition through the sales of work belped to confirrn her desire to rnove beyond amateur status, As Nunn has observed in Victarian Uoren Artists, For sost artists, it is selling norks that cmfims one's ideritityœœ.Yet to earn mney uas anatheoa to sany m#en's sen~ibilities,.~.The saiety amund them nas only unwillingly persuadecl that for th- to eam roney was tolerable,.,.Such komerclalf cmcems, a simple fact of tife to the male artist, cmstituted a major trancigressim of social habits and nom if the artist was a m#an, Yet she had to pmve to herself and ta her potential patmn that she was not an auteur puruiing a hobby: she wanted seriaus, financially backed attention frm the gallery-gœr. As a child, Carlyle was encouraged especially by her mother to devefop her talent +or painting, and birthday gi+ts were +requently "watercalour boxes".=o Carlyle's attraction to colour cont inued throughout her childhood and she recal led, 1 recierber, ,,the f irst tiœ 1 saw colour, Nurse bmught in a big pink apple blossoamm.It seeœd sa large,.mand so pink, 1 have never sman apple blossm like that since, As a girl, "she bought a small box O+ paints. And she amused hersel+ by making pictures of the Cflowers in the gardenl. "== Carlyle's fascination with paint and visual imagery continued ta develop: "In childhood, play +or her consisted in making copies o+ pictures, Ln this way çhe taught hersel+ to paint."2s Encouraged by her mother she demonstrated a preference for drawing and painting figures, bJe childm al1 useâ to dran a great deal...and the others uould draw everything else, but nhen it came to the heads of the people and animals 1 alnays had tu do it, ""4 In 1881, when she was seventeen, Carlyle moved with her family to "Englewood" then on the edge of the town o+ Woodstock. Described as "a handsome, old-fashioned, English style house with spacious grounds and handsame trees", Englewaod would provide the setting for many cf Carlyle's painting~,~~An annual garden party on the grounds was considered an important local social event.16 Neighbors at the time recalled the "Carlyle sisters wending their way to New St. Paul 's church on Sunday mornings with their picture hats and light colored +rocks, flowing ribbons streaming behind, the envy O+ al1 the other girls on the ~treet,"~~ Carlyle's youth is o+ten descrîbed as happy. In later years she loved to reminisce about her girlhood when the large family was together at Englewood. A family member recalled that, She loved,..the joyous attachœnt they felt toward each other, and the hammy that prevailed amng thea in spite of strongly differing opinions, ranging frum the persmal habits of each other thmugh politics and religious beliefs down to the correct my to eat sap.- Such discussions o+ten took place around the dinner table and were rescued f rom becoming quarrels "Cbyl the keen sense of humor with which the whole family was endowed. "=* Carlyle's cousin, Helene Youmans Key, a close -+riend a-F the artist, recalled that the name "Florence" was associated "only with the signature on her paintings, for to her farnily and +riends, indeed to all.,.at home and abroad, she was known as "BirdW- I never heard h~rcalled by any other name."3e People who knew the artist comment on her +riendliness, concern for others, and her keen sense of humor. In her Reminiscences Helene Key speaks o+ the artist 's persona1 str~ngthand self con+idence, fCarlyle3 lacked the statuesque appearance O+ her wther and cwild lay little daim to the beauty for mich her sisters were noted, But one bgcaœ aware of her presençe in whatever gmup she happeneci to iingle, and her stmg personality made itself felt uherever she appeared.., [This3 set her apart; it ray have been the interest she tmk in al1 about her, people and things, and her kindliness tuuard humanity at Large, the quick syapathy for anyone in tmuble, the haest indignation with unfaimess or oppressiori, and the swift, warn understanding of me's dreams,,,Ail these excellmcies of heart and aind uere hers to an astmishing degree, and me felt their iwact even on slight acquaintance by force of their siaple hone~ty.=~ Carlyle's keen sense of humor surfaced in her succinct, amusing but good natured descriptions O+ people.=* EARLY EDUCATION In the second half CI+ the nineteenth century Woodstock was a prosperous rural community in southwestern Ontario, Between the ages of seven and +ourteen Carlyle received her education in Woodstock's "public and grammar s~hoals."~~ Aithough she had received early recognition +rom family and teachers +or her artistic ability Carlyle appears to have had wide-ranging interests. In addition to her love of art she en joyed sports, in particular, riding and tennis.=- Although Carlyle's father held a reçpected position as school inspecter, the +amily was not wealthy, One account written during her li+etime states that "school-teaching is not conducive to luxurious living, Most O+ what surplus there was went toward the education of the boys".3s Afl O+ Carlyle's brothers were educated at McGill University in MontreallS6 The artist and her sisterç received what was considered at the time a more than "adequate" education +or wornen at the CO-educational Canadian titerary Institute fCLI), later renamed Wood~tockCollege, The CL1 was one of several Baptist educatianal colleges establ ished across Canada during the nineteenth century. 37 Baptist educational facilities were especially progressive, "concerned with Cprovidingl the necessary skills and the background +or its young men to join the +orward march of society- "=* Most signi+icantly, however, Baptist çchools were concerned about +=male education. The CL1 was only one O+ many CO-educational Baptist schools, Historian GoAl Rawlyk notes this distinctive aspect: By the 1850's there appears to have been surprisingly Iittle discussion over whether females shauld be educated. In the minds of many, the education of woir#i becare closely allied with, evm a contributing factor to, all the ather aspirations.. .of the Baptist body. 30 Designed to serve not only southern Ontario, but the whole country, the CL1 accepted non-Baptists as both students and teachers extending a welcome to those "who might wish to have their children educated in a Christian setting dedicated to practical educational goals."40 Carlyle's parents clearly recognized the advantages of educat ing their daughters in such a progressive institution, Their cornmitment was f inancial a5 well, since the CL1 was a private school, relying upon tuition fees, Carlyle's parents supported their daughter +or eight years of study- 4a A closer look at the CLf's educational program reveals an extensive elemen tary and secondary prcgram of educat ion, which by 1881 baasted twelve instructors and over two hundred studentsm4= While comrnitted +irmly to the principle o+ co- education, a scrupulous concern +or the students' decorum is also apparent in the regulatians against the consumption o+ tobacco and no excessive "communication O+ a sacial nature" between male and +emale students. Graduates o+ the CL1 were sufficientiy advanced to be admitted to the second year O+ the arts course at the University of Toronto.44 Carlyle's curriculum centered araund literature, art and music,4S Her art instructor was Prdessor Jones H. Farmer.- While a student, Carlyle was desrribed as having equal interest in bath music and art. According ta her teachers at the time, she "would undoubtedly have made a name in this field Cof Lader, as a professional artist, Carlyle frequently used subjects and titles that attested to this early appreciation and knowledge O+ literature and music. For example painting5 such as Pippa Passes (~1908)is based on a paem by Robert Browning in which the sub ject, kippa, caunteracts the sordidness af the world about her thmugh her innocence and her singing. In addition Carlyle's love of music is expressed in Piano Lesson (n-dg), An A~akenedChord ic1914), Pleasant Hour (~19001,and Husic (cl9lZ). 40 (Figs. 2.2 and 2.3) As well as the +ormal art training under Farmer, Carlyle's rnother supplemented her daughter's instruction by organizing a class O+ young art students +rom among the children of neighbors and +riends, She engaged a pro+essianal artist "+rom New York" to conduct regular classes for the group in Wood~tock.~~This artist was most probably William Lees Judson (1842-19281, who settled in London, Ontario, during the late 1860s and earned a living as an artist by selling landscapes, soliciting portrait ccmmissions and teaching art.so In the early 1870s Judson had lived briefly in New York City where he studied painting with John Beaufain Irving.=* Returning ta London in the mid-18705, he established a studio and became well known in the London/Woodstock area, teaching at London's Hellmuth Ladies C~llege.~~Judson regularly advertised his art classes and portraiture business in the London newspaperslSJ Undoubtedly Judson's skifL as a portraitist and figure painter encouraged Carlyle's pre+erence for such subjects, s4 Despite access to a good education for a woman of her time, Carlyle's art education anly prepared ber as an accomp 1 ished amateur. Nonetheless, as the +ol luwing chap ters will demonstrate, this early experience o+ equal access to CO-educationaf opportunities at the CL1 instilled a belie+ in women's ability and their right to pursue professianal careers. The çignificant role played by Carlyle's rnother was also a key +actar in her career goals--as we have seen she was herself a trained pro+essionaL, who passed on to her chi ldren the importance of self-con+ idence and determination, HeLene Youmans Key, a cousin and close +riend O+ Carlyle, observed the importance of inculcating sel+ confidence "insti1led.--as something of a moral excellence, a duty to one's self," Carlyle hersel+ recalled that "We were taught..-to respect ourselves, never to bdittle our power to attain the goal we set, but let that goal be high. 'There is no room in the dedicated mind, ' my mother would teli us, ' +or self exploitation or cmceit--,'"== Such a strong sense a+ sel+, and belie+ in the power to attain a goal, undoubtedly sustained Carlyle in her determinat ion to surrnuunt barriers to gain eduration and experience required +or pro-fessional art practice, THE FOOTPATH: EARLY EXHIBITIONS AND ISSUES OF MATRONAGE In order to succeed in establishing a professional practice in a society that favored male artists, women had to cultivate innovative strategies which counteracted patriarchal barriers "in a world divided and de+ined by sexual dif+erenceœUsL Such strategies included +riendships, patronage, and kinship with ather women: Ckross the rîtuals of umen's friendship, the networks of noaen kin, the relations of natronage, the daily practices of vieuing norwi's images of rmreci... across women's mverrecits and organisations, historicafly specific systeœs of signification were constituted in the later nineteenth cmtury in nhich mrrari as sign uas pmduced and exchangecl between worien to signify the foundatian of cosaunities, cultures and œanings of wo~en-~~ iiere, Deborah Cherry revives the term "matronage", a noun in use +rom the 1770s to the 1880~~to describe one such system of social support +or womec artists- The term traces its meaning to the word matron, commanly designating a married woman with "connotations O+ support between women in the social ri tuals a+ +emininityn. Cherry uses "matronage" ta signify the "richness and diversity of women's cultural Ck a concept, matmage necessarily connects mmen of varying perspectives and conditions and it is iwortant to recognise that where support for worieri artists was assisted thmugh friendship and kinship, these were historically structured relationships betueen particular groups of noc~enntrich uere prinarily organised on the axis of class. thtmraage can be distinguished fmm patronage, thus restoring to the latter practice its fundamental ~rientation,~~ Matronage acted as a support system for women artists that "connected women O+ varying perspectives and conditions", and in which cultural production by women was supported by women, s9 Queen Victoria, hersel+ an amateur artist, was a supporter O+ women art ists and purchased their works--her interest was perpetuated by her #ourth daughter Pr-incess Louise ( 1848-1939). Le Harriet Ford, in an article pub1 ished in 1894, describes the extent O+ the Princess' support of Canadian art. "The Royal Canadian Arademy o+ Arts was founded by H,R,H, the Princess Louise and the Marquis O+ Lorne t1880J. I put the Princess +irst, advisedly, believing that she had more ta do with the institution than the Marquis, At nineteen, Florence Carlyle's early sel# identification as an artist was resoundingly con+irmed in 1883 when Toronto newspapers reported the sale of her work ta Princess Louise.&= On the 12th O# September the Marquis of Lorne, husband of Princess Louise, opened the TIEmL3 The promotion O+ Canadian women's art by the Princess is evident in her close attention to the ladies work department O+ the TIE, After touring the "Fine Art Gallery" the party made its way to the "Ladies Work Department" where Carlyle and her sister exhibi ted their paintings. "The visitors 1 ingered some tirne.,,in this area, the Princess was particularly admiring O+ crewel wcrk and china painting,"L4 Twc still- life paintings by Carlyle and her sister, one of white waterlilies and one of rases, "attracted the attention of Princess Louise who wished to buy them,"6s The royal desire to purchase the works was "communicated" to Carlyle and her sister, who offered them as a gift. However, the Princess, herself not only a patron of the arts, but also a skilled painter and sculpter, "insisted on buying them, at the same time writing a kind note to the young arti~ts."~~Clearly, Princess Louise understood the significanre of paying for the work o-F women artists in this, a public and cammercial context. A total O+ "+i+teen or sixteen paintings on wood or other substances" by Carlyle were exhibited in the "Ladies' Department" O+ the TfE +or i883-L7 Olthaugh bath the Ladies' Department and art displayed in the Art Gallery were listed under the general heading of "Fine Art Department", the Ladies' Department in +act was in a separate location on an upper level, +ar removed +rom the art gallery. The marginalization O# this area is +urther rein+orced by the +ull titFe O+ "Ladies' and Children's Department,"69 In this department pro+essional and amateur work by women, work by children "under 14 years of age, " and work from public and charitable institutions, "Re-formatories and Asylums," were diçplayed separately +rom those in the more prestigious gal lery area. 70 Significantly, although Carlyle had alreaciy shown a precociaus talent for drawing +igures +rom li+e, both she and her sister chose to exhibit still-life compositions at the Ladies' Department exhibition, The choice O+ this genre shows their keen awareness o+ appropriate subject matter for this venue, by the mid-nineteenth century in Europe and North America stili-life painting had become an artistic category in which women had gained considerable critical accfaim, Significantly, it was regarded as a decorative art that tested manual dexterity without requiring intellectual content, In 1868 the influential British Art Journal stated that "+ruits and flowers seem by divine appointment the property of ladies."7i Frequent parallels between flawerç and +emininity were alsa part O+ the same cultural context in the nineteenth century, By mid-century still-li+e paintings were considered as "expressions O+ innate femininity", #or women arti~ts.~" Carlyle would later use a direct parallel between wornan and f lower in two works, bath entitled The White Flouer a+ cf893 and ~1912.~~ During the 1880s, besides exhibiting in Toronta at the annual TIE, Carlyle also associated with the London area art commun i ty--described aç vita1 and as having "reached to the height a+ its nineteenth century artistic development in the 1880~,"~~London had much to attract aspiring artists with several art classes and two distinct art xhools in the city, there were ample teaching appointments for artists, Aile newly rich art collectors provided a saiall but steady market for their work. As a result, dozens of artists uere attracted to the citym7= Carlyle's links with the London art community and the exhibiting opportunities o-ffered there continued throughaut the 1880's as noted in an article which appeared in the London Advertiser ,76 Miss Carlyle came to London as a young wulaian and +ratemized with the slender colony of art students wtta at that time were being taught the rudiments of sketching by local During the 1870s and 1880s the Western Fair also provided an exhibition for area artists, along with the TIE. Zn London the Western Fair art exhibition was the only annuaï art exhibition until 1940.70 Despite her amateur status, and her lack o+ pro-fessional art training prior to 1890, Carlyle took full advantage af the educatianal and public exhibition opportunities available ta her at this time,79 EARLY TEACHXNG EXPERfENCE Teaching during the nineteenth century was viewed as a respectable occupation #or unmarried wamen and was seen as an extension O+ the materna1 r01e.~~In addition, art instruction was one alternative available to women in order ta arhieve financial independence and to sustain a pro-fessional practice. Twa examples O+ +emale artists setting up their awn schculs of art in England during the nineteen th century are Louise Jap Z in9 and Henrietta Ward (l8Z2-l92S) In Canada, during the last quarter O# the nineteenth century, women gained prominence as art educators in ladies colleges and sch~ols.~~The circumstances O+ a woman working as a teacher of art to finance hlgher art education, and hence professional training, was not without precedent in Canada at this time. Carlyle's contemporary, Laut-a Muntz LyalL, taught in Hamilton, Ontario, #rom about 1883 to 1887, and again in 1888, thus funding her subsequent art studies in E~rope.'~ Ta hrther her career goals and save money tawards her advanced art studies Carlyle +irst taught art during the 1880s, while still attending the CL1 and exhibiting her work at the annual TIE in Toronto, An article published in 1914 notes Carlyle's focus during this time on obtaining the funds +or +urther study: Host of what surplus there was uent toward the education of the boys, uld Drm Carlyle fthe artist's fatherl cmsidering that girls cwld acquire what was necessary in the practical performance of domestic duties, But so detemined was Florence to study art, that she gave painting lessons, Men as she, herself, ccmfesses, she did not knon the first. thing abwt it!...The main thing is, hœver, that she saved up mough mney to take her to Paris. ,. 64 Two venues where Carlyle is known to have taught are a summer art school at Grimsby Park near St. Catharines in the Niagara Region O+ Ontario and a "class EforJ young ladies, Lin Woodstockf among them Miss Carrie Scar+f,,.and Miss Annie Richards. In the +ormer case she taught for +ive summers, between 1880 and 1886, be+ore her graduation +rom the CLI. In Woodstock she taught at a makeshift studio on Simcoe Street, m6 It is notable that al1 of Carlyle's çtudents +rom this early period are +emale, as +ar as we can ascertain, This would have been in keeping with social expectations O+ the time, in which a woman might teach art and thus assert herself as a figure o+ authority, but only to classes O+ Semale students. TOWARD HIGHER ART EDUCATION-THE OPTIONS When Florence Carlyle turned twenty-one in 1885, painting was regarded as a genteel 'accompiishrnent' for a middle-class woman. A popular publication of the time, Mrs. EL1 is8Fariiy Honitor and Dorestïc Guide, warned women against pursuing any accomplishment further than social necessiey It wst not be supposeci that the writer is one uho would advocate, as essentiai to wman, any extraordinary degree of intellectual attainaent, especially if confined to one particular branch of study-..Ta be able to do a great iany things talerably well, is of infinitely rare value to a m#an than to be able to excel in any one. By the former, she may render herself gmerally useful; by the latter she rray dazz le for an hour. .. 07 Social convention of the time dictated that Carlyle, a woman in her twenties, put her ef+orts into finding a husband, not an artistic career- Parents and relatives saw the choice +or a woman to become a professional artist as an inferior and regreüable second to that of marriage. Contemporarieç of Carlyle, the American artists, Cecilia Beaux (1855-1942), and Mary Cassatt (1844-19261, both had to deal with +amily açsumptions that placed marriage be+ore career for women. In a letter of 1891 the mother of Mary Cassatt wrote to the artist's brother, Alexander Cassatt: hry is at work again, intent on fame and iwney she says..After al1 a woran who is not mrried is lucky if she has a decided love for mrk of any kind and the more absorbing the better. In her autobiography, Background HI th Figures, pub1 ished in 1930, Cecilia Beaux recounted her early Iife prior to her professional career, and records her ambivalence towards marriage: Needless to say, the family opinion in these matters was always obvious, but nas never foirecl upori the reserved young premzere in the cast,,, Shall 1 ever coae to it? f was by no means set against sarriage and had no gliarering vision of another sort of future 1 might have. Let us escape this period, withwt further comment, The tiœ cime hm the next alfowed qening was ready for me, and 1 for it, CStudy at the Pennsylvania kadery of Fine Arts. Io- Similarly, Florence Carlyle's brothers displayed a respectful, i+ slightly apologetic attitude toward their sister's artistic endeavors: She paints, you knm. She's mt married- It's nice that she has sonething to do.90 At the time, a pro-fessional cornmitment and marriage were seen as mutually exclusive, Harriage was expected to put an end to professional activity. Thus, nineteenth-century British artîsts such as Anna Mary Howitt (1834-84) and Mary Severn (1832-66) gave up painting upon marriage, and Florence Claxton (f1.1859-791 refrained +rom exhibiting at the Royal Academy once she married in 1868, only showing in less conspicuaus venues such as the Society of Female Artist~,~~ Harriet Hosrner, ( 1820-1908) a succeçs-ful CImerican artist, identified the conflict between marriage and profession as one that stood in the way O+ women artists establishing a pro#essional practice, She declared in a letter of 1854 that: an artist has no business to marry, For a man, it aay be uell enough, but for a woman, on whm matrimial duties and cares weigh more heaviiy, it is a mral wrong, I think, for she iust either neglect her profession or her faiiily, becming neither a good wife nor a god artist. My aribitim is to bec- the latter, sa 1 nage etemal feud with the consolidating knot. g= Women artists wha successfully çombined working as an artist with the role O+ devated mother invariably found that marriage had a disturbing e++ect on their prdessional practice. British artist Henrietta Mary Ada Ward (1832-lY24) noted the advice O+ a Sriend's mother who said, "1 was very wrong not to make my childes clothes and give al1 my time to domestic matters, and.-.if 1 did my duty ta my husband and home there would be no time le+t to paint,"9= One form O+ challenge to restrictive prescriptions which channelled women toward the occupations of wife and mother was ta becorne economically independent. The most immediate avenue open to middle-class women a# this time was to use their 'accomplishment' in the field of art as a prafessional career tu gain economic independence. However, young women had +irst to contend with parental opinions on the suitability abaut art as an occupation +or a daughter-- indeed, the required training itself posed many hazards to the ideal of wornan's experience at that time, Think of the.. aebarrassing pmmiscuity of life in studio and school, particularly as regards the study fra the living rwdel-and one can realize how brave, hou energetic, or hcm arrbitious iust be the w0mar-1 ho would wiri the title of Clrti~t,~~ Deborah Cherry observes in Painting Woren that later in the nineteenth century, artist-fami 1 ies o+ten supported daughters wha wished ta become artists and contribute tu the fami ly business, In addition the "daughters o+ merchants, rnanu+acturers, lawyers, civil servants, doctors, bankers, writers and politicians alsc became artists," and the reason for them taking up a pro-fessional art career was +requentty given as +inancial nece~sity.~~ Fanny Corbaux resolved on a career as an artist utten her father bec- unable to support his faaily.=.Ellen Clayton Cauthar of EngIish Fernale Artists of 18763 noted af Mary Tovey that 'like rany others Cshe wasl obliged tu depend on her art for her fortune', and she reporteci of Annie Dixon that 'fariily affairs rendered it necessary that early in Iife Miss Dixwi make her m nay in the world ' Without this economic incentive, woaen in prosperous middle-class families often testified to opposition +mm parcents irho had neither desires nor expectations for mrking daughters. ..tihile displeasure aight be articulated by a mther or a father, transitions to professimal training and practice cwild be facilited by a mther's unfulfilled wish to have been an artist or by the example of a brother or ferale relative already mrking as an artist. 97 Cecilia Beaux, a contemparary O+ Carlyle, wished to study art at the Pennsylvania Academy of Fine Arts during the late 1870s but encountered opposition fram her familv= In her autobiography she states: 1 would have turned tuuard the..,PAFA CPennsylvania Ckademy of Fine CSrt3, but ry uncle, to rrhm 1 oued everythingœmmCnasloppased,,.There was no reasori to suppose that ry trend was to be serious orlastingm Certainly 1 had dme uell and uas a gOOd copyist. 1 was a seerly girl and mnild prabably nrry. Why should 1 be thmun into a rabble of untidy and indiscriminate art students and no me knew Mat influence?..-LHe was opposed tol the life-class...Candl put a strungm.-am betueen me and iitrat he judged to be...a doubtful ad~mture.~.*O Thus, the decision to look beyand marriage and to flout convention by aiming +or a pro+essional statu5 was nat one to be taken lightly--and many +actors played a part in Carlyle's plans, Signi-ficantly, Carlyle's mother had worked in a prof essional career for several years be+ore marrying, and thus, in addition to encouraging her daughter to develop her artistic skifls while at home she also supported the notion of further study abraad and a career as a professional artist +or her daughter, Her father, however, focused on their son's higher education. An additional barrier to her art education was that the farnily was not prosperous enough to support all her aspirations, "they often +aced di+ficult times and al1 of the children at a very early age, learned to be sel+-reliant and how to 'make Thus, Carlyle could not assume that the funds for such a venture were readily avai lable. Financial help +rom the +amily was o#ten of invaluable importance to a yaung woman wi th an ambition to become an artist--and Carlyle eventually gained this support +rom her family. Thus, in addition to the money Carlyle was able to earn +rom teaching "funds were gathered together" +rom various sources in the +amily for Carlyle's Significantly, the artist's rnother raised smme a+ the money needed: Hrs. Carlyle, iillho had always believed in her daughter's talent, made further efforts and sacrifices cm her behalf, with the result that the mney was raiseâ.,,aoi William Carlyle Jr-, the artist's elder brother, also contributed because by the late 1880s he was working as a mining engineer and o++ered ta help +inance Carlyle's +urther art studies. CarlyIe's choice of schools was Limited. In lei36 there were +our art schools in Ontario--at Toronto, Kingston, Ottawa, and the Western School of Art and Design, later renamed the London Art School in London, Ontario. Most Canadian women artists wha as~iredto a prsf essional career began their +ormal art training in Canada and on the recommendation of a teacher +urther studies were ccntinued abroad. For example, bath Laura Muntz LyaL l and Sidney Strickland Tully, studied at the Central Ontario Schaol of Art in the early 1880's and then trained in The true measure O+ a professianal artist in Canada in the 1880s and 905, was foreign art training, in Paris, London or New York- IOL In Canada during the 1880s, study abroad for aspiring women artists would still have been considered a bold move--requiring an adventurous or ambitiaus spirit, supported by a moneyed +amily or +ortunate circumstanre. However, various English periodicals published articles on the subject under titles such as, 'The Girl- Student in Paris0(1883), and 'An Atelier des Dames' (1886), and fimerican artist May Alcott Niericker's handbook Studyinq Art Abroad and How to Do zt Cheaply (1879) would have o++ered women artists Like Carlyle helphf advice and knowledge O+ educational institutions.ao7 In britain at this time there were a number of well- respected art schoafs to which women art studentç gravitated such as the Slade School o+ Art in tondcm considered the best source of +ine art training #or women in the later nineteenth century- Two of Carlyle's Canadian contemporaries, Sidney Strîckland Tully and Helen McNicholl, studied at the Slade Schoal of Art in London while Laura Muntz Lyaii went to the South Kensington School O+ Art for three rnonths in iB8€?,A0g For some women private instruction continued ta be an option. Bath Helen HcNicolf and Emily Carr (1871-1945) studied in En~landunder Algernon Talmage in 1906 and 1903 respectively- However most O+ the leading Canadian artists during the 1880s and 1890s received their training in Paris. lai The closest, and hence least expensive, alternative to continuing her art education in Canada, would have been to attend one c+ the well respected American art academies such as the Pennsylvania Academy O* Art or the New York &rt Students' League--however, neither of these options were taken up by Carlyle despite the advantages a+Sered. Beginning in 1877 women students at the Pennsylvania Academy were permitted to draw +rom the male nude, but separately +rom male students. This was a very advanced position for the time and the Academy was -frequently attacked by thase citizens who felt that women were being corr~pted.~~?A letter addressed to the academy director in 1882 illustrates this commonly held view: Does it pay for a young lady of a refined, godly household to be urged....to enter a class where every feeling O+ maidenly delicacy is violated, nhere she becmes...so familiar with the percioris of degraded uaaeri b the sight of nude =les, that no possible art can restore her lost treasure of chaste and delicate thoughts!,,.The stifling heat of the mom adds to the excitement, & uhat cuuld be a cool unimpassioned study in a mm at 35 Cdegreesl, at 85 tdegreesl or even higher is dreadful. = The National Academy in New York did not enrollwornen students on a regular basis until 1846, and while women had their own li#e-drawing clas5 +rom 1871, they were not permitted ta attend anatomy lectures until 114.4 Another North American alternative, the Art Students* teague of NEW York, established in 1875, taok a mare liberal attitude toward the education af women than did the National Academy. a is A LADY OF CANADA: STUDIES IN FRANCE Although Carlyle had several options open to her both in Canada and the United States, she chose instead to study in France- Whife she asked personal advice +rom establîshed artists, her eventual selection O+ Paris may have been in+luenced by pub1 icat ions which praised study abroad, Encauraged by her former art teacher, William L- Judson, as well as her artiçt friends whom she met in London, Ontario, in the 1880s. Paul Peel !18&0-1892) and his sister, Mifdred Peel Ross (1856-19221. çhe departed for Paris in October 1890 - Judson had studied at the Academy Julian under Boulanger and Le-Febvre about 1878, while MiLdred and Paul Peel bath worked at the Paris studio a+ 5.3, Benjamin-Constant in 1886-a When Paul Peel returned tu London, Untaria, during the 1880s ta exhibit, sel1 his work and visit his +amily, be was "impressed" with Florence Carlyle's work, so much so that "he made a point of becorning acquainted with Miss Carlyle, with the reçult that a +irm fr-iendship sprang up between them +rom which the wark of each derived much bene+it."++7 ft is probable that Peel's descriptions of the Paris master5 and studios encouraged her desire to train in Paris.saP Us Cherry points out in Painting Homen, Paris in the second half of the century was the center of modernity and a rity which was moçt attractive to wumen artiçts because O+ "its facilities for independence alang with access to life drawing in the ateliers", Carlyle le+t for Paris on Octaber 30 accompanied by Paul Peel and his sister, Mildred Peel a sc~lptor.~~~While several descriptions O# Carlyle's career document that Carlyle travelled tc Paris alone with Paul Peel, it is clear given the social strictures o+ the time, that the thirty- year-old Peel and twenty-six-year-old Carlyle could not have travelled together unchaperoned. Thus, the presence o+ Peel's alder, unmarried sister, Mildred Peel, aged thirty- +our, in the year 1890, fulfilled the requirements of reçpectability for both women. Before World War 1, a wman studying art required a protector, Thus Florence Carlyle travelled to France with the painter Paul Peel and his siçter, and bily Carr mile studying abmad uas shunted +mm me -11- meaning chaperme ta anuther, or travelled with her sister. More recently, Maria Tippett ha5 dismissed the importance O+ a chaperane or cornpanion for a respectable woman when travelling at the turn of the century, By then it was socially acceptable for a uoaan to travel with a female caqmnicm or, if none was available, evm alone. 12= Whi Te it was undoubtedly acceptable for two women to travel together, Tippett's claim that it was equafly acceptable for a woman to travel alone during the 1890s is not substantiated by any documented exampfes in her text. The issue o# women's public visibility was clasely tied ta respectability. Wornen wha participated in the public çphere, including travel and wark, if they wished to retain their reputations, had to do so within the boundaries and rules of respectable behavior. by ccntrast, men were uncurtailed in their freedom to travel and move about alone "since even by the late nineteenth century, women could not go alone to a ca+e in Paris or a restaurant in London, "lZ3 As Janet WoI#f notes in her book Ferninine Sentences: There is, in any case, an apparently comassuptiwr that noaen irho do participate in the public' cm anything Like the saare te- as men smehow manifest masculine traits...described as having mannerises of a mascul ine character. ,, 24 Furthermore, Wolf# demonstrated how women who visibly participated in the public "masculine" world at the end of the nineteenth century, were o+ten described in unferninine terms--as dressing Iike men with "mannish" bodily ge~tureç,i=s Such arti-Fical social canstraînts did not inhibit Carlyle's independent spirit, Her experience of teaching away +rom home in the Niagara Region demonstrated her desire for sel+-direction and autonomy. When +acing the reality O+ traveling and training abroad, however, Carlyle admitted to "inexperience". Her reaction was a mixture of enthusiasm and anxiety in the autumn of 1890, when her ambition for further study in Paris was f inally realized. In England or even in Cherica, such neas mnrld have been a mnderful evmt in a girl's life! But simple mrds cannot express the turiult of fear, joy and aarvel that spread in my soul-a sou1 so remte frm Europe and so profoundly inexperienced ! i=L Carlyle set out with the Peels, sailing fram New York to Antwerp, Belgium, in November, Her heightened awareness of hep new surroundings is revealed in her writing- En route ta Paris, she noticed: Even in ay frightened ecstasy...dark puplar trees, gate posts topped with pots of red geraniums.-,glimpses of lavender distances. Upon her arrival, however, Carlyle was apparently le+t on her "lone venture" without knowing "which school she wculd en ter, '' With Iimited financial resources Carlyle's selection of an art school was largely dictated by cost. She would manage a small amount a+ additional +und5 by drawing portraits O+ her +ellow American students and "by dint of rigid economy2"'ag She chose the studio of William Adolphe Bauguereau (1825-1905) on the recommendation of "an agreeabfe, good-natured girl who was enthusiast ic about her s~hool."~~~However, Carlyle saon decid~dthis was "not giving her the help she wanted" and made her own dis~avery.~~*"Setting out one day on a tour a# investigation, she came upon half a dazen students working away in a basement in the Latin Quarter,.,CClimbingl dawn through a hole under the sidewalk, . .Eshe3 +ound there was something doing there." Her serendipitous discovery, o+ the atelier Delecleuse, a small, les5 prestigious school, suited her needs. She stayed here +or two yearsma- Carlyle records with pride haw she and her +ellow students, many a+ whom were women, helped the school and Delecleuse grow in populari ty: The superintendent, Delecleuse, was just getting started then, and we students 'made' hia, for wr enthusiasa kept bringing others to the school, nurabe~ of whm were men... Cuhenl ne got too rany for hii..,he uas able to build a neu studio for his pupils. 13= No daubt the advantages in studying at a smaller, les5 expensive and newly established school were many, especially for a woman in Paris- by 1890 Paris had a reputation for prcgressive women's art education, but many art schools were still crganized in terms of sexual difference. Some excluded women altogether and others lirnited fernale members or restricted their access to art training,i34 Deborah Cherry's comrnents on the patriarchal barriers to women 's art education throughout the nineteenth century reveal the dilemmas for a Homan artist wishing to study art professionally: 4rt schmls characterised noaen as special, separate and not infrequently as amateur. irlorperi students uere refused admission, assigned to special classes or debarred fmthe Iife-class,.. Women were excluded +rom classes at the Ecole des Beaux-Grts, "the most venerable art teaching academy in France" until 1897.LfL Furthermore, at the Academy Julian, where Carlyle was later to study, women who had access ta the life-model alongside men until 1879, then were placed in separate studios, charged greatly in+lated +ees and, most importantly, excluded +rom the less expensive male-only li+e drawing sessions. The American artist May Alcott Niericker, author O+ Studying Art Abroad (18793, and of The Art Student in Paris, noted with pratest that +ees for women students at Julian's at this time were nearly double those +ar men- Further, these authors chastised the school for providing only one pro+essor to criticire the women's work while the men's atelier on the ground +loor had several cri tics. CTheI male class, no longer opens its doors to norien, +or the price, being but one half of the upper Emmen's1 xhool, attracted tm many- Also, with better mdels, and a higher standard of mrk, it nas found iapossible that waraen should paint +mm the Living nude del5 of bath sexes.. .Ealmgside3 rien. Ix9 In March O+ 1893 Carlyle settled into classes at the Academy Julian and lived at 18 Rue de Milan in Paris's "Latin Quarter." Her move to the more expensive Academy Julian, where divisions a+ classes by gender and the daubling O+ women's fees wouldl on the çur+ace, seem to run counter to her finanfial constraints. Presumably her brother's financial support made this possible. By the 1880s Julian's was the largest school of art in Paris with "congeries of studiosu--including a specialized atelier for women opened in i880.s44 In addition, an illustrious group O+ artists served as regular critics of the student work. Jules Le+ebvre, Tony Robert-Fleury, and J. J, Ben jarnin-Constant were among those wha taught Carlyle- Each had achieved success in the o++icial art world by exhibiting extensively in the Salons acd winning prizes such as the Prix de Rome. Most importantly this french academic training involved access to li+e drawing classes, The lack of access to the nude mode1 when Carlyle started to exhibit her work publicly in Canada during the 1880s waç noted by a critic of the Toronto Industrial Exhibition Rrt Department, oning to the lack of qportunities of studying anatuny, and the absence of schmls for painting +mm the nude, it is no les5 surprising that figure drawing has a very suml1 place in wr art exhibits. 142 In contrast, women at the Pennsylvania Academy were permi tted ta wark in classes alongside men +rom 1856, but onfy a+ter a "close-fitting but incanspicuous +ig-leaf" was placed on the casts. The yeat- 1868 saw the +irst ladies* li-fe-dr-awing class with a nude fernale madel established, and in 1577 the Academy took a very aevanced position for the time, despite public protest, and allowed a male nude to mode1 with a iûin cloth in ladies' life drawing classes.i4s In 1E90, Canada's Saturday Night reported a controversy in Britain's Royal Academy school as to whether or not "the lady students of the school shall be admitted înto the 'life school ' . ., the main argument.. ,is that there is no such artistic talent among women as would make it worth ~hife,"~~~ In 1893, the year Carlyle Oqan her studies at the Jul ian 's, wornen studying at Britain's Rcyal Academy were finally permitted ta draw fiam the nude male modef. Hawever, the British schcm? specif isd that the rnodel should appear ordinary bathing drawers and a cloth of light material 9 feet long by 3 feet wide,-Jand al leather strap shall be fastened muid the loins in order to insure that the cloth keep its place- A+ter her return ta Canada? Carlyle published an article entitled "A Week oi Student Life in Paris". which dûcuments her life 2s a çtudent in Faris. The sense of a shar-ed experience, and iriendships with her fellow wornen students, and their acctzss tfi life drawing, can be seen as a rneans ta dramatic narrative voic~Carf yf e descrited the +grnale studio the best Cmodefl is chosen...How auich it means to each student, as we throng about the model-stand, waiting until a supple, bmnzed, broad chested fellow vaults into the stand and takes a 'pose' that calls forth a ring of applause, or a girl steps ntaibly on, the pearly whiteness of her young body glistening.-.the grating and scratching of charcoal begin~,,.~Oh,the thrill of thoçe silent haurs, standing shoulder to shoulder in the army of ardent, splendid, hard aorking œomen. The bared, outstretched ara, the supple wrist, the quick fingers, warking out each line as with the worker's own heart's blood, Lips compressed, half-closed eyes peering intently from under paper shades fastened over the head. Mhat a union of pent-up feeling and purposem.,i46 temphasis mine3 A CIRCLE OF FEMaLE FRIENDSHIPS: During Carlyle's long professional career, +rom 1890 to 1933, +ernafe friendships. a notion central ta matriarcha1 ci rcui t= a+ support, would Securne important in counteractinq patriarchal bat--riers ta professional practice. The social stt-uctürizg a= sexuûf di f +erence generated strang and support ive relationships between women, whether f riends, travelling campanians, professional calleagues. or kin. For the most part these relationships have remained 'hidden #rom The fersale friendship of the nineteenth century, the long-lived, intimate, loving friendship betwem two wonen, is an excellent example O+ the type of historical phenmenon that auist historians know soriiething about-..and virtually no one has written about...lhese relationships ranged frm the supportive love of sisters, through the enthusiasms of adolescent girls, to sensual avowals of love between mature w~rnen.~~~ The companiûnship oS women friends made it ?ossible +or wamen ~EItravel unaccamFanied by meE. The phenornsnon of s~inster.5 travellin, ta Faris te attend the ateliers and pursue their a:-t stud ies Secans rno!-E cornmon +rom the mid-century onwards. Working tûsether: sharing models and apartments, traveling to~sihet---as hb~t-anCherry nates, "the distinctive indepecbence, financial aut~ncrny, the freedam to travel, an ec jaymect of the public spàces of the city, and the cornpan ionsh ip of women f t-iends. "i4a O+ten the -Forging of a +erninine professional idsntity was süstained by +riend&ips between women. While ic Paris during the years 1890 to 18% Carlyle had severaï close f riendships wi th other unmarried, Canadian women art students, One such friendship was with Sarah Baldwin Holden, who met Carlyle at the Academy Julian, where they were both students O+ fony Robert-Fleury and Jules Lefebvre, Botb women exhibited in the Paris Salon, Carlyle in 1893 and 1894, Holden one year later in 1895, They shared an interest in portraiture and figura1 painting,149 While students together in France, Holden and Carlyle established a supportive relat ionship which was sustained upon their return to Canada and during their professional pract ice. In Paris Carlyle al50 be+riended the Canadian artist Mrs- EœL- Patterson. They were reunited in 1903 at the Toronto OSA exhibition opening where bath were exhibîting paintings. A "Social and Personal" column O+ the time notes that, "Mr-S. Pattersun and Miss Carlyle,.,were +e?low-students abroad, and one may hear O+ pranks and +un they en joyed together before they imagined fate would ever bring them into camradeship in +ar Canada so soan."fsx Friendships between women was only one impaptant element of matronage and in matriarchal circuits of support, In March of 1893, ten years a+ter Princess Louise had purchased her painting Waterlilies, Carlyle was again the recipient of aristocratie matronage while she was studying at the Academy Julian. A Taronto periodical reported that Lady Du+ferin, the wife O# the Governar-General of Canada, had recently invi ted, Hiss Florence Carlyle of Woodstock,..to the British Wassy fin Parisl, .. tu an afternoon tea-. ,Lady Dufferin is greatly interesteci in a painting that Hiss Carlyle is kurrwitly mrkingl.. .atm13= Carlyle and Lady Du+ferin had met when the latter opened an exhibition O+ paintings in Paris the previous year (1892)- She had "greatly admired" Carlyle's work, which included a street scene and a sel+ portrait, in that show, tLady hif+erinl asked for an intervieu nith the artist and nas delighted when she found Hiss Carlyle was froar Canada and congratulatecl her upon her beautiful nork.xsJ A later review of Carlyle's work, written in March 1895 while she was still a student in Paris, documents the longevity a+ this relationship and observed that, "Lady Duf#erin takes a great interest in Miss Carlyle's work and has visited her several times in Paris."is4 As Deborah Cherry notes, "matronage extended the economic and social power of middle- and upper-class women which. ,, was exerc ised as customers and employers,"iss While it is nat knuwn if Lady Du+ferin purchased work by Carlyle, such social support, and ensuing intt-oductions within society, would have been invaluable to any Canadian artist o+ the tirne- Thus, female +riendships and matronage estabfished a network O+ social support for women, which ackd tu promute and sustain the professional identity of wamen artists, such as Carlyle, just beginning ta establish their professional In recent scholarship on the Julian Academy the "particularfy supportive" atmosphere +or women çtudents is documented with reference to the fact that women cornpeted an an equal basis with men in monthly prize competitions with women as winner~.~~~Despite the cited advantages for women students and the encouraging advice O+ the "master", however, the Julian Academy remained segregated along lines O+ gender with women's classes having +ewer critics, and women paying substantially higher +@es than their male colleagues- in addition, Julian's admunition that "wumen shoufd listen wi thout tears to the cri ticism of their pro+essors.. ." reveah his underlying assumption that women students, un1 ike their male counterparts, would react in an unpro#essional +locd of tears ta criticism a+ their w~rk,~~~Such a condescending assumption is not supported by Carlyle's personal experience, During the winter of 1892-93 Carlyle was determined to have a painting accepted for exhibition at the spring Salon. At her rooms, autside class, she began work on a portrait o-f a neighbour, an elderly Dutch woman. When finished she took it to her class for her maçter to view, hoping to receive permission to submit it to the Salon. The severity of cri t icism is evident in the artist 's recoilections: CHaving painted the] picture in her rooei, the rown being sa small that she cwrld hardly see her mode1.-. a famus critic.-.wanted to know if she had sat on her The "famous critic" is identifieci in an 1895 article as Bou gereau, the teacher whose criticism she had first encauntered during her early training in Paris. Another source describes his reaction as "explosive: " Salon ! 60 back to your drawing!... It is very disagreeable!" As she stood there, stunned and embarrassed, a friend tried to consule her by saying, "Never aind, you can always try again next year." As Florence plucked u~,her canvas and made to leave she said, "Thank you - but I shall try again this year!"i60 Following this humiliating disappointment, Carlyle exhibiting perseverence and willpower "pluckily tuok the picture home, scraped it all off and began aver again."f6s Another contemporary source noted her react ion to the criticism: "tne disappointment zlmost killed her; but after the +irst shock was over she went home, took a fresh canvas, began al1 ovey afresh, +inished her picture by the next day and it was accepted. The French Salon system, while losing both appeal and authority by the mid-189O0s, was still a "means a+ publicity", which "arcorded a degree O+ respectability to the works exhibi ted", it "represented oppartunity, The painter Gerame noted that the Salon meant survival, for a host of ywing artists who have mly this means of establishing a relationship with the public, with art lovers and for selling their uorks. In order to sell, it is first of al1 necessary to have acquired a certain notariety, and this can only be achieved by shoning uhat me has done. 64 Signi+icantly, a woman's opportunities in this "social event with high potential as a marketplace" were narrowed by patriarchal barriers, wh ich extended +rom institut ions O+ art education into the Salon system. Marie Bashkirtseff, studying in Paris during the 1880s, noted the absence O# women +rom positions a+ influence--on the Salon jury, at the Institut dg France, and as p~o+essorsat the Ecoie des beaux- Arts.tLs Despite these gender based barriers a high prapartion o+ Canadian artists listed as exhibiting in the Salon +rom 1890 to 1896, the period a+ Carlyle's residence in Paris, were wamen, (See Appendix 4) Carlyle's determination to persevere towards the goal O+ Saion exhibition in the +ace o-f negative criticism paid O#+. In the spring O# 1893 her painting of the elderly Dutch woman, Une dame hollandaise, (Cat, No, 340) was accepted +or exhibition at the Salan o-f the Societe des Artistes Français, Paris, and received Cavorable criticism. (Fig. 2.4) Characteristic of the partriarchal values in place in the art institutions at this tirne, the praise for Carlyle was qualified sornewhat by a concluding re+erence ta the patronage a+ her male teacher, Hlle. F. Carlyle.. .peint simplement, sans prétention, et surtout sans a I'effet, absoluement comme elle voit son modèle: n'est-ce pas le plus grand merite et celui pui d6note une nature pleine de promese?.. . Le grand peintre Jules Lefebvre a félicité tout particuiierement la jeune artiste; c'est Ia plus qu'un encouragement, déjà une r&ompense. bolstered by +ive and a half years of study under acclaimed teachers, by critical successes in both Paris and Canada, and having exhibited a painting at the prestigeous Royal Academy O+ Arts in London, England, Carlyle returned to Canada in 1897,iLa She emerged a-fter ner years away as a con+ ident and independent artist, well equipped ta establ ish her pro#essional practice--in rnarked contrast ta the aspirant, who Ze+t Waodstock in 1890, "sa pro+oundfy inexperienced ! " *69 Ey 1897 as Carlyle began her pro+essional artistic practice in Canada, the women's su++rage mavernene had ~roduceda new fernale heroine--"The New Womann--fer the popular imagination, advocating the right ta earn an incarne, access ta higher education and voting rightr +ar wcmen, and in direct con+ lict with traditional values. i70 Having f louted convention, lived independently in Paris, as an unmarried, autonomaus woman, Carlyle epitomized many ai the values o+ the "New Wmnan" O+ 1897. It remained only +or her ta establ ish her professional artistic practice and earn a living. Notes to Chapter Tm, 1. The titles of many of Carlyle's paintings are incorporated in a nuaiber a+ the chapter titles and subheadings in this thesis as, for example, in the title of Chapter Two. fiarriet Hosrner, an Chaerican iculptor, in a letter to the Reverend Phebe A. Hanaford, one of the first Aiiigrican wmen to become a clergywoman, quoted in Wmstein, herican liowen Artists, 77-78. mile she had to endure ridicule and attacks to work a5 a professional artist, Hosrner was famus during her lifetime, and women looked upon her as a modei of achievement. 2. Cherry, Painting Woren, 19. 3. Pollack, "tludernity," 55. 4. William Rrthur (b.18621, Florence Emily (1664-19231, Li l lian (Hastings), Haud (Struthers) ,(d. c. l936), Emest Jermld, Edwin S., Russell A. (d. 1932). Ernest J. Carlyle, The Carlyle Tree, c. 1950, TS, firtist Files, WPAG, Woadstock, Ontario. 5. F. beatrice Taylor, "tfer Own Country", London Free Press (London, Ontario), 7 July 1956, nop., Florence Johnston files. 6. Emily Youmans was originally +rom Pictan, Ontario, where her family were pmsperaus LJnited Empiw Loyalists. Soon a+ter 55e married William Carlyle he took a teaching position in Hamilton. Florence Johnston, "Florence Carlyle, 1064 - 1?23", (Unpublished TS, Artist Files, WAG, ~19841,4. See also, "Mrs. W. Carlyle, Passing of a Womn Who Had Nat Lived in Vain", Hoodstock Daify Sentinel-Revieu, (12 December 1913); and "Memory of Florence Carlyle Honored by Art Association", Hoodstock Daify Sentinel-Review , (7 February t9s6), Artist FiLes, WPAG. 7. "Mrs. W. Carlyle, Passing of a irloman", 1913. 8. William Carlyle was born in Cockermouth, England in the Lake District. About 1838 the family irnmigrated ta the region known then as Upper Canada and settled near the village of Mount Pleasant just south O+ Brantford, Ontario, on part O+ Joseph Brant's "indian Lands." At an early age he "determined to leave the raugh farm," and by "working his way, by the age O+ seventeen he was qualîfied as a teacher." Johnston, Florence Carlyle, 3. See also, Oxiord HistoricaL Society pamphlet, "Florence Carlyle md the New 6allery," Oxford Through lime, (February 1983): 2. Artist Files, WPAG, and, Nancy Geddes Poole, The Art of London, 1830-1980 (London, Ontario: Blackpool Press, IWW, 69. 9. B. Hume, "Florence Carlyle, A.R.C.A. " Woodstock Oaily Sentinel-Revieu, (Moodstock, Ontario), 10 July 1925, n.p. William Carlyle worked as an Inspecter of Public Schoolç from his appointment in 1871 until hi5 resignation in 1910, me year before his death in the sumrner of 1911, see "Florence Carlyle Dies in England", Globe (Toronto), 9 May 1923, n.?. . 10. Morgan, Canadian Hen and Yomen, (18981, 156. Florence Carlyle's father was said to have possessed "a rugged individuality that manifeçted itself in his original way of questiuning bath teachers and scholarsn, and as having had a "brusque exterior but with a kindly heart and Chef afways endeavared to bring out originafity in the scholair he addressed." "Nemory of Florence Carlyle Honoredn, (19361, n.p.- See also, Kay Kritzwiser, "At home with Florence Carlyle," Globe and Haii (Toronto) 29 December 1982, 10; Taylor, "Her Own Country," (1%&), n-p.; and, MacBeth, "Canadian Women," 23. Il. Georgia Collins and Renee Sandell, Uomen, Art, and Education (Reston, Virginia: National Art Educat ion Qssociation, 19841, 49. 12. Mn, Victorian Uomen Artists, 34. 13. Ibid., 34. 14. Cherry, Painting Women, 68. 15. Nunn, Victorian Uomen Artists, 36. 16. Cherry, Painting Homen, 68. 17. Ibidmq 69. 18. Johnston, Florence Carlyle, 5. This exhibitian was later renamed the Canadian National Exhibition (CE). 19. Nunn, Victo~ian Uomen Artists, 36-38, 20. Viiss Florence Carlyle", The Gentlewaian, n.pmm 21. Florence Deacan, "Representative Women: Florence Carlyle", Toronto Globe (Toronto), 8 June 1912, 4. 22. Margaret Bell, "Women and Art in Canadan, Evetywoman 's Yorid (Toranto), June 1914, 7. 23. Osborne Caiendar Title-leaf, "Aluays Rooa for One Hurea, (Osborne Calendar Company New York. c.1900-c.1910). 24. Deacon, "Representative Women," 4. See also, "Miss Florence Carlyle," The Gentleuoran, n.p.. 25. This house remained in the famiiy until 1913 and still stands today, afthaugh much changed, at 146 Wilson Street, see "Memory of Florence Carlyle Honoredn, Vaiiy Sentinel Revieu (Woodstock, Ontario) 7 February 193, n, p., Artist Files, WPAG. 26. Taylor, "Her Own Country," n.p.. ' 27. "Hemory of Florence Carlyle Honored," (19361, n-p.. 28. Helene Youmans Key, Reminiscences of Helene (Unpublished TS, WAG, Artists Fi les, cl?79), 7. 29. Ibid., 7 As Florence Carlyle laier recalled, Just when ne seened to be m the verge of an explosion someone was sure to make the witty remark that made us al1 appear ridiculous, and the tension was bmken. Dur mst serious arguments always ended in gales of laughter. 30. Ibid., 1. 31. Ibid., 1. 32. fbid., 7. men describing a man to her cousin Helene, the artist observed that he was, "tall and thin and will appear politely drunk." To her mother she characterized a man they were about ta meet as having, "red hair and a scar across his cheek from a previous marriage. " 33. "Memory of Florence Carlyle Honored", (19361, n.p.. Waodstuck was servd &y the newly ccwipleted Great Western Railway and accupied a strategic location, within a rich agricultural area, yet accessible to the markets and population centers of Toronto and the United States. An English iourist of 1856 described the town in the following te-, Woodstock stands on undulating ground and is a corpletely rural, straggling place, likc a large village with a number of gentlemen's homes in it..,It contains six churches, a gaoi, a court-house, a graiuar school, a œchanics' institute, same mills and boasts of a newspaper.. -.Full of pr~sise, as is the Mole land, that, a+ ter all, is the garden of the province.. , see, Wi1 liam Kingston, Mestern Handeringr, or, A Pleasure Tour in the Canadas, (London, 18561, 23-5, quated in Charles Murray Johnston, HcHaster University, the Toronto Years, (Toronto and Buffalo: University of To~ontoPress, 19811, 1: 14. Between 1871 and 1913 the Carlyle family lived at three addresses in Woadstxk, Englewood was then on the edge of town and is now located at 146 Wilson Street, see "Memory of Fiorence Carlyle Honored," (1936), n-p.. 34. Deacon, "Represeiitative Wumen," 4. 35. Macbeth, "Canadian Women," 23. 36. During the I880s, while Carlyle was a student at the CL1 her elder bmther William A. Carfyie (1862-?) was a student at HcSill University, Montreal. In 1891 he was appointed as a special lecturer of Mining and ktallurgy at HcGill. In November 1895 he taok up a position as Provincial Hineralegist and Director of Hines for the province of British Columbia. He worked this capacity until 1899 whm he moved to Rio Tinto, Spain, and worked as the general manager of the Rio Tinto Mining Company until 1908. In that year he moved to London, England where he was appointed Professor of Technology and Metaflurgy at the Imperia1 College of Science, London, see Morgan, Canadian #en and Homen, {l8?8), 157; and afso, Morgan, (l'?lî), 200. 37. Nancy Gall, "Researcher pieces together Florence Carlyle story," Uoodstock Daily Sentinel-Revie~, (Waodstock, Ontario) 26 March 1983, 5. Al1 seven Carlyle siblings attended the Canadian Literary Institute/Woodstock College, see Johnston, "Florence Carlyle," 5. The CLI, the Canadian Baptist Col lege in Montreai, the Toronto Baptist College, and Motilton College of Toronto, were brought together to form the present day McMaster University in Hamilton, see G.A. Rawlyk, Canadian Baptists and Christian Higher Education, 31. In 1883 the CL1 became Woodstmk College, see Johnston, HcHaster University, 1:32. 38. Rawlyk, Canadian Baptists, 21. 39. Ibid., 21. 40. Johnstm, Hcnaster University, 1: 14. See also, Rawlyk, Canadian Baptists, 33. 41. Johnston, Hcffaster University, 1: 16. 42. Ibid., 32. 43. Ibid,, 16, quoting from the Canadian Literary Institute Faculty Hinutes, ûctober 1879. The facility was composed of twa substantial buildings, a ciassrnom and office structure, and a residence for female çtudents, al1 O+ hich dated +rom c.1862, During the next twenty years, when Carlyie attended the college, a refectory, infirmary, gymnasium, a manual training building, and commercial department were added. 44. Lbid., 16. 45. "Memary of Flarence Carlyle Honored," (19361, n.p.. 46. Cknos Jury, who later became a London area artist, attended the CL1 with Carlyle and was also taught art by Professor Farmer. Poole, Art of London, 69. 47. Katherine Hale, "Canada Lost Great Colarist in Florence Carlyle, " Star Ueekly (Toronto), 16 June 1923, n.p. , 48. Additional painting5 which make iiterary and musical referenceç include Via Roberto Browning, The Little Street in Asolo #here Pippa Uorked and Sang, (c1913), and The Sprîng Sang, (~19121. 49. Hume, "Florence Carlyle, A. RwC.A., " n. p.. See also, Poole, Art of London, 69. 50. Judswi was born in Manchester, England in 1824. His family moved to New York City where he studied art under his father who was an artist and house painter. The family then settled in Thamesville, Ontario near Lundon. He saw action with the Union Amy in the Arnerican Civil War after which he moved to London, Ontario, see Poole? Art of London, 33. 51. This period of New York study, when added to the fact that he had been a resident of New Yorù City for a number of years, may have resulted in the description of his being "fmm New York", see Poole, Art of London, 69. 52. fud5cn's studio was in the Spettague Building, located at the south-t corner of Dundas and Clarence Streets in London. He continued to teach art in London throughout the 1880's and during this time the Canadian artist Paul Peel (1860-1892) was one of hi5 students. Ibid,, 33-34. . In the spring of 1890 Judson left London and moved to the United States. between 1896 and lm1 Judsm was Dean of the Art Department, and a professor of drawing and painting at the University of Southern California, Los Angeles, where he founded the Faculty of Fine Art. He held the position of Dean until 1920, see Florence N, Levy, ed. American Art Annual, 1900-1901 (boston: Noyes, Platt & Co,, 19001, 3:228-229. See alsc, Poole, Art of London, 36. 54. This art class was cmducted in a studio set up for the purpose by Carlyle's mother in a bouse an Simcoe Street in Woodstock, see "Centennial Art Exhibition Features City Native," Daily Sentinef-Revieu (Woodstock, Ontario) 23 January 1967, n,p., Artist Files, WPM. 55. Key, Reminiscences, 7. 56. Cherry, Painting Homen, 101. 57. Ibid.. 109. 58. Ibid., 102. 59. The Oxford English Dirtionary de+ines a patron as "one who stands tu another or others in relation analugous ta that of a father," one who is a "lord and master" and/or "pratector". Matronage lacks these characteristics, Ibid., 102. 60. Queen Victoria purchased wark from such artists as Emily Mary Osborn (b. 1834, f 1.1851-a+ter lW?), Emma Gaggiotti Richards (1825-19121, hna Mary Severn (Newton) (1832-18861, Henrietta Hary Ada Ward (1832-1924), Alice Mary Havers (Morgan) (185û-18901, Elizabeth Southerden Thompson, Lady Butler (1W- 1?33), and in 1879 appointed Hden Cordelia Coleman Angell (1847-1884) as Flower Painter in Ordinary. Ibid., 103 and 215- 221 far "Checklist of Artists." 61. Harriet Ford, "The Royal Canadian Academy of Arts," The Canadian Hagazine, 3 (May 1894): 45. 62. "HmR. H. Princess Louise and Canadian Artists, " Unidenti+ied newçpaper clipping, c.14 Septeder 1WS, Artists Files, London Regional Art Gallery and Historical Museums WGWlil), London, Ontario. The author has atteslpted to trace Carlyle's painting llaterlilies which was purchased by Princess Louise in 1883. Despite inquiries thmugh the Royal Collection, the Royal Archives, Uindsur Castle, and the Duke of Argyll the painting remains unlocated, Pamefa Clark, Royal Archives, Windsor Castle, letter to author, 31 4ugust 1994: and, M. Pether, Private Secretary to the Duke of Argyll, Inveraray Castle, letter to author, 11 November 1994. 63- Toronto was a short journey by train fmNoadstock in the 1880's. The TI€ was billed as an "4griculturaL and Industrial Expositionn and as "Canada's Great Fair", complete with zoological and horticultural displays, scientific and commercial exhibitions, side shows and an art gallery. It was Iocated on land bordering Lake Ontario and steamer ferries regularly transparted patrons to the exhibition graunds, Ferries made stops at Taront~'sParliament Street and Yonge Street wharf every half hour. At night the gardens of the fair were illuminated with "electrir Light" an anrazing nuvelty in 1883, see advertiseiawits for TI€ in Globe (Toronto), 12 September 1883, 2. Princess Louis married John Campbell, fater Marquis a+ Lorne (1871-19001, and 9th Duke of Argyie (1960-1915). They moved tu Ottawa in 1878 when the Marquis of Lorne was proclaimeci Governor-General of Canada. At the time of their visit to the TIE, in September of 1883, the Marquis of Lorne was nearing the end of his tenure as Governor General of Canada, and they were making a "farewell visita be+ore returning to England. They had a great interest in the arts and were instrumental in the founding of the Royal Canadian Academy of Arts in 1880. The Vice-Regal party was accompanied by Prince George of Wales and the Earl and Countess of Carnarvan. "Canada's Great Fair, Exhibition Formally Opened Yesterday," Globe (Toronto), 13 Septepiber 1=, 9. See also "Canada's Great Fair," Globe (Tomnto), 29 August 1883, 4. 64. "Canada's Great fair, Exhibition Fomally Opened Yesterday, " Globe (Toronto), 9. 65. The Princess had several paintings, Carlyle's among them, sent for ucLose inspectionn to the Queen's Hotel, tu where she nas staying, see "H.R,H. Princess Louise and Canadian Artists," ünidentified newspaper clipping, c-September 1883, Artist Files, WH4 London, Ontario. An article in The Gentleaoman, an English periodical which intervieued Carlyle in 1895, discus~dwith the artist her experience of the 1883 show. Two of the paintings entered in the exhibition by the Carlyle sistem are described in this article as "tno ebony panels, the one decorated with roses, the other with white lilies." The painting of white waterlilies on ebanired wood was by Florence Carlyle, and the painting of rases was presumably by one of Carlyle's two younger sisters. If, in addition, we conçider the newspaper report of 1883 which specifies that Carlyle showed fi+teen or sixteen works, we have a picture of the two sisters exhibiting work but of Florence showing the greater number. "Miss Florence Carlyle," The Gentleuonan, n.p. Carlyle likely exhibited in "Class 113.- Lace, Waol Work, Emùroidery, Painting, &cmnSection 28 "Painting on woad or ivory". Toronto Exhibition Prize List, (1883), 66, Canadian National Exhibition (CNE) Archives, Toronto. See also, Johnston, Florence Carlyie 5; and Florence Carlyle, artist information pamphlet, undated, ~1980,Artist Files, WPAG. 66. "Miss Florence Carlylen, The Gentle~oman,n.p.. See also, Daiiy Sentinei-Revie~, (Woodstock, Ontario), 25 Febmrary 1883. 67. "H.R. H. Princess Louise and Canadian firtists, " (c. Septeber 1883), UnidentiFied newspaper clipping, Artist Files, LRAGHPI, London, OcZar io. 68. The Art Gallery was focated in a large space on the main f loor. "Canada's Great Fair, " (13 September l883), 9. 69. Toronto Exhibition Prize List, (18831, 64-67. CE Archives, Toran to. 70. Ibid., 65. 71. Cherry, Painting #oren, 25. 72. Ibid., 25. 73. Carlyle painted two works entitled The White Fioaer. The earlier one was likely painted cl893 in France and shows a woman in white "diaphanous drapery" standing in a woadeci iandscape and waç at one time owned by Sir Adam Beck; the later work likely dates to ~1912,was exhibited at the RCA in the same year, and depicted a woman wearing a red gown. D.b,G. Fair, Florence Carlyle, The Mhite Flowr, Artist Files, LRASHH, London, Ontario; and, Roy Franklin Fleming, "The Royal Canadian Academy of Art, " The Year Book of Canadian Art, (Tomnto and London: J.H. Dent, 19131, 205. 74. Poole, Art of London, 210. 75. The combination of a severe eronomic depression and a bitter schism between two groups of London awa artists brought the halcyon period to an end by the mid-1890s. Poole, Rrt of London, 210. 76. Ibid., 69. Jury later atso studid with W.L. Judson and went on ta become a professional London artist. Several art organizations were active in London during the 1880s. These included the tlestern Art Union, founded ~1878,which organized art exhibitions; the Western School of Art and Design, founded in 1878, and in which Jahn R. Peel, the father of the artist Paul Peel was an instructar. The latter c;chool had 457 students in 1880 and offered a wide range of classes încluding drawing, painting and parcelain painting, Annual Report of the Province of Ontario Education Departsent, (l88O), 260, cited in Poole, Art of London, 28-29. In addition the "kademy of Painting," affiliated with the Ontario Çchool of Art offered classes in London ~1887. 77. Poole, Art of London, 69, Poole qucites fman article by Olaf Rechnitzer which appeared in the London Advertiser (London, Ontario, January 17, 1925, 1, Magazine Section. 78. Poole, Art of London, 62. The art exhibitions at the Western Fair's Crystal Palace were an important venue for area artists, Ibid., 210. 79. Carlyle likely exhibited at the Art Department of London's Western Fair during the 1880s concurrent with her TIE exhibitions. 80. Collins and Sandell, Homen, Art, and Education, 48. 81. Nunn, Victorian Uoien Artists, 55. 82. See Appendix 5, "Women Art Educators in Canada ~1900". 83, Farr and Lucky j, From wmen 's eyes, 28. 84. MacBeth, "Canadian Uornen," 23-24. 85. Several of Carlyle's fumer students were still living in 1936 and present at this tribute, see "Memory of Florence Carlyle Honored," DaiIy Sentinel-Revie~, n.p.. The anly exampfe of Carlyle's work that is known fram this time c1880s, is the painting on ebonized waod, Uaterlilies (~18831, purchased by Princess Louise, Presumably Carlyle alço taught her students still-life painting. 86. Carlyle's Simcoe Street studio waç in the Scarff residence, the home of one of her students. Gall, "Florence Carlyle Story," 5. See aisa, 6. Rothwell, "Board bars Story of Florence Carlyle," Daily Sentinel-Reviea, (Waodstock, Ontario), 25 February 1983, n.p.. 87, Hrs. Ellis, Famiiy nonitor and Domestic Guide (New York, 18441, quoted in Pollock, Hary Cassatt, 13. 88. tîrs. Cassatt in letter to Alexander Cassatt, 23 July 1891, quoted in Polfock, Hary Cassatt, 7. 89, Cecilia beaux, Background Yith Figures, (boston: Houghton Hifflin, 19301, 86. The careers of many Asrerican conteaporaries of Carlyle including Ellen Day Hale (l855-lMû), Jennie Augusta Brownscombe (1850-1936), and Lilla Cabot Perry (1848-1935) have been dacumented by the National liuseum of Women in the Arts, 1250 New York Ave. N. W., Washington, D.C., founded in 1987 by Wilhelmina Holladay. See Claire bhitcomb, "A Star in Our Cmn: Wilhelmina Holladay," Victoria (September 1994) , 92-77. 90. Kritzwiser, "At Home, " 10. 91. Nunn, Victorian iloaen Artists, 56. Claxton was known as a figure painter and iilustrator, Witt a5 a figure painter, and 5evern (Newton) as a partraitist. Cherry, Painting Yoaen, 217, 218, 220, 92. Harriet Hosuer in letter of 1854, quoted by Cornelia Carr, Harriet Hosaet (l913), and Nunn, Victorian iioaen Artists, 57, 67, and note 77. 93. Henrietta Ward, ifeaories of Uinety Years (19241, 52, quoted in Nunn, Victorian Moaen Artists, 57. Ward was known as a figure painter. Cherry, Painting Women, 221. 94. Leonite Benedicte, "Women Painters in France, quated in Sparrou, Wonan Painters of the Horld, 169. See also Farr and Luckyj, Froa women's eyes, 6, note 14. 95, Cherry, Painting Women, 25-26. 96. Ibid., 26. Cherry is quoting frum E. Clayton, Engiish Fernale Artists, (London, Tinsfey, 1876), 2:6û, 143, 254. Clayton's entri- were based on questionnaires completed by the artists. Cherry, Painting Wonen, 226, note 20. Fanny Corbaua, Marie Francoise Catherine Doetter, b. 1808, f 1. 1828-81, +igure sub jects; Hary Simpson Tovey (Christian), f 1. 1872-6, figure and portrait painter; Annie Dixon, f1.1844-93, miniature and portrait painter. Cherry, Painting Women, 217, 20. 97. Ibid., 26. 9e. aeaux, Background Uith Figuras, 87. In spite of this opposition, Arademy records show that Beaux was registered for classes there in 1877-1879, see Rubenstein, American Homen Artists, 450. note 57. 99. Johnstm, Florence Carf yle, 5. 100. W. 6. Trestain, "Art Study in Paris Hard Work, Wrote Florence Carlyle", free Press (London, Ontario), 18 November 1938, n.p. 101. Jenkins' Art Gallery, A ifeaorial Exhibition of the Late Florence Carlyle, A RCA, (The Jenkins' Art Galleries, Toronto, 1935), 14. 102. Trestain, "Art Study in Paris," n-p.. See also, Johnston, Florence Cariyfe, 6; and Gall, "Florence Carlyle Story," 5; and Rothwell, "Board Hears Staryln n-p.. Some of the information in the latter article is based on a lecture by Marian HacCausland to the Oxford Historical Society, c-February 1983. 103. Joan Murray, Ontario Society of Artists: 100 Years 1872-1972 (Toronto: Art Gallery of Ontario, 19721, 5-10. 104. Montreal, a aajor centre supported by the Council cf Arts and Manufacturers, offered an industrial art education directed to the needs of artisans, and the Art Assocation of Montreal school (AAH) also offered art classes. In Toronto, the Central Ontario Schaol of 4rt was founded in 1876 by the Ontario Society of Artists. Ibid., and Poole, Art of London, 30. 105. Helen Galloway NcNic 011 (1879-1915) studied with William brymner at the AAR school before going tu britain- Mary A, Eastlake hee Bell) (18b4-19511, and Sarah Baldwin Holden also studied in Montreal with Robert Harris and Brymner before dispursing to the United States and Eume. Farr and Luckyj, from utmen's eyes, 24, 28-29, See al- J. Russell Harper, Painting in Canada: A History, 420-421; Harper, Early Painters and Engravers in Canada, 160, 167; and "Painters and the Public," Hail and Espire, (f898), 14, 106. Farr and Luckyj, From wmen's eyes, 3. 107. Hay Alcott Niericker, Studying Art Aùroad and Hou to Do it Cheaply (Boston: Raberts Brus., 1879). The other articles mentioned inciude, "How Working Women are Trained Abroad," Engfirhwoman's Revie~(January 18801, 38; "Lady Art-students in Paris," ifagarine of Art (1881), 343; The Girl-Student in Paris," Hagazine of Art (18831, 286; "An fitelier des Dames," #agarine of Art (18861, 152, see Nunn, Victorian Uoaen Artists, 64, note 51. 108. Cherry, Painting Women, 54, 58-59. See also, Nunn, Victorian #men Artists, 48-40. In Britain women attended tne Royal Academy Schools, established throughout Britain +rom 1769 but which admitted women only after 1860. Homen also attended London's National Art Training Schools at South Kensinqtm and the Slade Schaol of Art, opened in London in 1871. An article puhlished in 1883 praised the Slade Schoal's acceçsability, ,..Hem, for the first time in England, indeed in Eumpe, a pub1 ic Fine Art Çchool uas throrai apen to arale and fearale students on precisely the same terms, and giving to both sexes fair and equal qportunities Charlatte Weeks, "The Slade Girls," Magazine of Art, (1883), 327, quoted in Nunn, Victorian Uomen Artists, 66, note 70. 109. Tully studied c.1884-1886 at the Slade under Alphonse Legros (1837-19111 and made this choice on the advice of her teacher at the Ontario School of Art in Toronto where she had previously attended, "Painters and the Public," #ail and Enpire, (Toronto), nad. 1898, 13-14. See al-, Harper, Painting in Canada, (19771, 420-421. 110, Farr and Luckyj, fro8 uoren's eyes, 30. 1 Charles Hill, "To Faund a National Gallery," Mationai Gallery of Canada Journal, 36 (March l98O), 5. Canadians, Sidney Strickland Tully and Sarah Baldwin Holden trained at the Academy Jülian in Paris. Tully also attended the Academy Colarcssi far two years from 1886 ta 1888. Later, Mary Alexandra Eastlake also studied here (c-1889-911, as did Laura Muntz Lyall. Mary Hiester Reid studied interaittently wîth Dagnan-Bouyeret, Rixens, Blanc and Courtois. Sylvan Allaire, l'Les Canadiens au Salon Officiel de Paris entre 1890 et 1920: sections peinture et dessin," The Journal of Canadian Art History, 4 (l?77/78): 145-148, See also, Farr and Luckyj, fror rsamen's eyes, 24-25; and Harper, Early Paintets, 160, 167. f 12. Rubenstein, Aiierican Homen Artists, 92. 113, Letter ta James Claghorn, president of the Pennsylvania kademy of the Fine Arts, 1882, signed R,S,, quoted in Christine Junes Mer, The Pennsylvania Academy and Its Women (Philadelphia: Pwinsylvania Academy of the Fine Arts, 19733, 21, 114. Rubenstein, herican Uomen Artists, 92. ILS, Other American schaols of the time included The Pennsylvania Academy of Fine Arts, Philadelphia; in New York cl898 were the School of the National Academy of Design; the New York SchooZ of Opplied Design for Women; the New York School of Art, Southamption, Long Island; the Polytechnic Institute of Brooklyn; and the Pratt Institute, Brooklyn. Florence N. Levy, ed, American Art Annuai, 1898 (New York and London: Hacmilfan, 18991, 1~305-307. Durinq the fast quarter of the nineteenth century the herican Hidwest offered excellent coeducationai art schools, including the Cincinnati 4rt Academy, the St. Louis Art Academy, and the Art Institute of Chicago, which began to pruvide equal educational opportunities for women at this time. Rubenstein, herican Women Artists, 92-93. 1. Born in Londan, Ontario, the Peel siblings were raised in the mitist of a stimulating artistic environment. Their father, 3.R. Peel, was a stone mason and artist and in 1880 was the principal of the Western Schoal of Art and Design in London, see Poale, Art of London, 33, 3. 117. Jenkins' Art Gallery, A Ueaorzal Exhibition, 13; and Poale, Art of London, 65-66. 1. Johnston, Florence Carlyle, 6. 119. Cherry, Painting Homen, 63. 2 Oxford Hîstorical Society, "Florence Carlyle, " 4. A variety of historical sources disagree on the exact date, or year, of Carlyle's journey ta France. Sme of these may be journalistic errors or inconsistencies, as with the Jenkins' Art Gallery claim (1925) of the early part of 1886, while the earlier "Painters and the Public" article (1898) notes that she began her studies in France in 1893, however, the most consistently documented date is the Fall of 1890. See for example, Morgan, Canadf an ifen and Hoien, (18381, 156; and, "Department Loans An Oil Paintingu, Daily Sentinel-Revieu, ~Woodstock, Ontario), 23 April 1939, n.p.; Taylor, "Her Own Country, n.p.; "Centennial Exhibition", n.p.; Kritzwiser. "At Home", 10; Gall, "Florence Carlyle Storyn, S9 al1 +rom Artist Files, WPAG, Woodstock, Ontario. Hildred Peel attended the Pennsylvania Academy of Fine Art and in 1886 she studied in faris at the studio of J.J. Benjamin Constant. She exhibited with the Ontario Society of Artists, maintained a studio in Taronto, and in 1907 married Geoqe Ross. Peel's wrk included both paintings and sculpted portraits. She is described as the first man ta decorate public buildings and she executed a series of busts of prominent men for the Noruml School in Toronto, see Poole, Art of London, 66; and, Jean Banne-, Leadinq Ladies, Canada, 1639-1967 (Dundas, Ontario: Carrswmd, 19671, 204. 121. Farr and Luckyj, From #oren 'r eyes, 1. 122, Tippett, By A Lady, 43. 123. Janet Wolf+, "The Invisible fianeuse", W, quoting fmm Richard Sennett, Fhll of Public Han, 217. 124, Wolff, "Invisible flaneuse," 42. 125. Ibid., 42. 126. Johnston, Florence Carlyle, 6, 127. Ibid., 6. 128. Deacon, "Representative Women", 4. 129. Florence Johnston interview with authar, Noadstock, Ontario, August, 1993. See also, MacBeth, "Canadian Wmen," 24. 130. Deacon, "Representative Women," 4. During ~1890-1892 Paul Peel was studying under Doucet, Lefebvre, and Benjamin- Constant, the latter two painters were critics at the Academy Juiian. It is not known if Peel suggested that Carlyle seek instruction elsewhere since in 1890 she was a less experienced student. Zt is possible that the first xhool Carlyle entet-ed was one of the women's ateliers at the Acaderny Julian since Bouguereau had "headed an atelier" here since 1882. Catherine Fehrer, "New Light on the Academie Julian and its founder (Rodolphe Julian)," Gazette des beaux-arts, 103 (May-June 1984): 208. 1 Deacon, "Representative Women," 4. 132. Ibid., 4. 1. Ibid., 4. 134, Althaugh Maria Tippett cIaims in her recent book, By A Lady, that by cl890 wumen had a wide range of ciasses in the atelier system to choose from, the reality was not as simple nar as positive as the author presents. See, Tippett, By A Lady, 45. 135. Cherry, Painting #o.en, 53-54. 3. Fehrer, "New Light on the Academie JuL ian, " 312. See also, John Milner, The Studios of Paris: The Capital of Art in the Late Nineteenth Century, (New Haven and London: Yale University Press, 19881, 17. 137. Cherry, Painting Homen, 63; and Jo Ann Wein, "The Parisian Training of American Women Artists," #o.an's Art Journal, 2 (1981) : 42- 138. Niericker, Studying Art Abroad. May Alcott, the sister of touisa May Alcott, married H. Niericker and died of complications +ollowing childbirth. The Art Student in Paris (Boston: MF4 School of boston, 1887), as cited in, Fehrer, "New Light on the kadernie Jui ian, " 21 5, note 9, 139. Niericker, Studying Art Abroad, M, quoted in Rubenstein, herican Women Artists, 93, 447, note 7. 140. In 1880 an atelier for women opened at 5 rue de Berri and this is were Carlyle's contemporary Cecilia Beaux studied- Later, the studios at the Passage des Panoramas O++ the Boulevard Montmartre were occupied by women 's classes. Fehrer, "New Light on the Academie Julian," 208, i41. Allaire, "Les Canadians au salon," 147; and, "The Sprins Exhihition, " Star (Montreal1, 1895, 1. Instructors and critics at the Academy Julian during the last quarter of the nineteenth century inciuded, J.J. Benjamin-Constant (1845- 19021, Louis-Henri Bouchard, William-Adoiph Bouguereau (1825- 19051, Gustave Boulanger, Gabriel Ferrier, Francois Flameng, Rodolphe Julian ( ?- 19071, Jules Lefebvre (1836-1911), Jean- Paul Laurens (1838-1921), Tony Robert-Fleury (dates), Francois Schummer, Edouard Toudouze, Raoul-Char les Ver let. Fehrer, "New Light an the Academie Julian", 208-209; and flilner, The Studios of Paris, IO. 142. "Canada's Great Fair, Notes, " Toronto Mail (17 Sep taber 18831, 2. 143. Rubenstein, Aaerican Uonen Attists, 92. 144. Van, "Art and Artists, " Saturday Uight, 3 (25 January 1890) :6. 145. Annual report of the Royal Acadeny, London, England, 1894, as quated in Linda Nochlin, Hmen Artists: 2550-1950 (New York: Knopf, 19761, 52, 146. Florence Carlyle, "A Week of Student Life in Paris", originafly published in the "Woman's Kingdom" column, Toronto Hail, hp., n.d.1. Reprinted as "Student Life in Paris as Told by the Late Flurence Carlyle," Oaily Sentinel-Review (Woodstock, Ontario), 10 February 1936, n. p., Artist Files, WPAG, Woodstock, Ontario. 147. Cherry, Painting Uoien, 50. Cherry is quating frm C. Smith Rosenberg, "The fernale world of love and rituaf, relations between women in nineteenth-century Americia," in Disorderly Conduct: Visions of Gender in Yictorian America (New York: Knopf, 19851, 53. 148. Cherry, Painting Uomen, 47. 149. Allaire, "Les Canadiens au salon," 147. Hoiden had earlier studied painting in Montreal under Robert Harris and William Brymner. Later she attended the Art Students' League in New York before moving to Paris. Bath artists sent painting5 to Canada for exhibition with the Royal Canadian Academy and the Art Association of Montreal. See bppendix 2, Exhibitions. An AM review in a Montreal newspaper of 1895 notes, "at present she CCarfyle3 is in Paris, a student of Constants Csicl. She and Miss Holden, of Montreal, are tagether." "The Spring Exhibition", Montreal Star, 1. Carlyle exhibited La vieille victo~ineat the AAM that year (cat. 24a). Holden won a gold medaf at the Chicaga World's Fair in 1893 and was elected ARCCI in 1895. She exhibited with the WH, the OSA, and the WAAL R. Sisler, Passimate Spirits: A History of the R.C.A,, (Toronto: Clark Irwin, 19801, 44. Mary E. Dignam, "Canadian Women and the Develapatent a# Art," in Homen of Canada: Theii- Life and Mark (Toronto: National Council of Women, 19M; reprinted, 19751, 223. 150. In Canada, both artists exhibited works at the WAAC sectional art conference held in Montreal in Hay, 1896. The conference uas addressed by the CPuntess o+ Aberdeen, patm of the National Cauncil of &men and the MC. A newspaper report of the conference nates that during the evening a selectim of Lantern views and pictures by Canadian women fartistsl, who had had pictures hung in ne11 knakin galleries, such as the Salon, Royal Academy of England and the World's Fair [Chicago, l8?Y. .and Nrs.feck, Presidmt of the W.A.A., had a few facts to give of the different artists as their principal pictures were shown- The works of the following artists were shown:-Mrs. Dignam, Hrs. Watts, Hrs. Schreiber, the Misses Bell, CFlorencel Carlyle, CSarkhl Holden, Sutherland, MacDonnelI, Fi, Phillips, Plimsofl, Houghton-Ford. (Emphasis mine.) "Wome~and Art", Unidentified Montreal newspaper, (coMay 19, 15961, n.p. Women's Art Association of Canada (WFiAC) Archives, Tot-unto. Holden and Carlyle again exhibited together in the WAAC Toronto exhibition in Harch of 1897 with both artists receiving prominent reviews. Holden's Widowed but mt Forsaken was described as "The picture that attracted most attention...", hile Carlyle's was described in the next paragraph as, "Perhaps the second attractive picture in the exhibition was a smaller one by Miss Florence Carlyle 'Here Adele'". "Art, " #ail (Toronto) c.March 1897, n. p., WAAC Archives, Toronto. In March 1897 Carlyle's address is given as Woodstock, Ontario and Hoïden as 317 Mountain Street, Montreal. Catalogue of the Ninth Annual Exhibition of the Women's Art Association of Canada, 1897, 3, WAAC Archives, Toronto. 151. Mrs. Dickscn Patterson was married to the Canadian portrait painter, A.D. Patterson, KA, and their address c.iS98-1900, was 10 Elmsley Pl., Toronto. (F. Levy, ea. American Art Annual, 1900-1901, (Boston: Noyes, Piatt & Co., IWO), 3:s. See also, "Social and Personaf, " Saturday Night, 16, (14 March 19031: 3; and, "Year's krvest in Art," Globe and Mail (Toronto) 7 March 1903, 32. 152. Saturday Uight, 6 (18 Har-ch 1893) : 15- 153. Ibid., 15. Zn the same article Lord Dufferin is noted as having earlier studied at the same school as Carlyle, the Academy Julian, under the painter "Constant," likely J.J. benjamin-knstant (1845-1902). 154. "The Spring Exhibitionn, Hontreal Star (IWS), 1. 1. Cherry, Painting Women, 103. BRASS AND COPPER: EARNING A LIVING, WOtlEN ARTIST'S ALTERNCSTIVES CIM) STRATEGIES This young lady has been studying abroad, and shms every sign of the leaven having begun its work,. Revieuer's observations on the work of Florence Carlyle, 1897, The nork of anather Canadian lady artist,..rivets the attention of artists and of that great Philistine #b, the public, 1 speak of the work of Florence Carlyle,.,Cdmse paintingsl acupy the place of hmor at this exhibition.= Review of the 30th annual 0Sfi exhibition, 1902. By March of 1897 Florence Carlyle had returned to Canada, amb i t ious for pro+essional success, and in ten t on earning her Living as an artist, This chapter will explore the strategies and alternat ives that Carlyle employed to negotiate the conditions of artistic production, and to establish and sustain her professional practice. Her use of strategies tu negotiate patriarchal barriers of entry and establish her place within the public sphere of the art world included taking full advantage of all opportunities open to her to exhibit work, in professional art associations, societies O# women artists and in professional arenas in Canada and abroad, The artist's use o+ alternatives such as matriarcha1 circuits O+: support and +riendships between women are issues central to Carlyle's art practice, This chapter will also identi+y the methods emphyed by Carlyle +O earn her living as a professional artist, including her role as an art educator, her work in commercial art ventures and as a portraitist. NEGOTIATING BARRIERS OF ENTRANCE At the turn O+ the century a successful artistic career required income +rom a variety of sources - sales at exhibitions or direct +rom the studio, commissions +rom private, commercial, or state cl lents, publication of articles and teachinsm3 In 1900 British painter Anna Lea Nerritt in her "Letter to artists: especially women artists" noted that 2200 was required to establish oneself as an artist and pay one year's expenses, includirtg studio, rnodels and materials. She cautioned her female readers, "there is no income sa fluctuating as that of the artistlN4 It was assumed that artistç were required to conduct their practice as a business, and to possess "technical expertise, an eye for the market, the care+ul cultivation of dealers, critics and clients," But as Deborah Cherry points out, for wamen artists "the skillful manipulation of the masquerade of femininity ta secure representation in a world divided and defîned by sexual ciifference" was even more es~ential.~ Sacial strictures at this tirne curtailed female artists who wished to meet and entertain male clients- Male colleagues were free ta conduct business in either public or private spaces without any connotation of sexual impropriety. Clearly this system gave an advantage to male artists with respect tu "ccommissions, remunerative sales, lucrative contracts, pro+essional distinctions and critical a~clairn."~ The inevitable result of this asymmetrical economic structuring O+ artistic practice was to position wamen artists unequally in relation to incarne levels, pro+its, supplernentary earnings and finance capital, Women also had to contend with other patriarchal barriers to their entry into professional art practice- Institutionalized sexual difference resulted in exclusion or separateness in such areas as pro+essional associations, cri t ical recept ion, and there were gendered power relations between critics, teachers, patrons and employers. Circumventing this system of privileged masculine values and concerns were the alternative strategies, such as societîes of women artîsts, matriarchal support circuits, and other methods, employed by women artists ta negotiate patriarchal barriers. One example of an obvious partriarchal barrier to women artists in Canada at this time was the Royal Canadian Academy of Arts' positioning O+ women mernbers, The RCA was described in the American Art Annual O+ 1898 as holding "the most important Canadian exhibition of the year. " The entry continued, "tthe Academyl has...twa grades of members, Academicians, of which the number is Iimited, known by the letters RCG, and Associates, the number of which is not limited, known by the letters ARCA."* Significantly, while the RCA elected Charlotte Schreiber (1834-19=) as a charter member at its foundation in 1880, between 1880 and 1933 wcmen artists were barred frum holding full Academician status, and could only advance to the level of "Associate" upon election by an exclusively male group O+ Academicians, The constitution of the RCA stated that, "women shall be eligible +or membership,,.but shall not be required ta attend business meetings nor will their names be placed upon the list O+ rotation +or the C~uncil."~~ Thus, in the spring of 1897, the year she returned +rom Europe, Carlyle waç elected an Associate of the RCA- The Toronto publication, Saturday Night framed the achievement with relation to a male relative, "the Associates elected are: Miss Florence Carlyle of Woadstock...who is a niece O+ Thomas Carlyle. t'xi Thaughout the years o+ Carlyle 's professional activity +ram 1890 to 1923, due to the RCA's gendered limitations on membership, women were routinely excluded +rom hl1 membership in the RCA with the resulting implication that their status was less than pro+essional, thereby privileging material bene+its and decision making power for male artists. Al though widely accepted wi thîn the art establishment, this exclusion did not 90 uncontested- In 1900 Woren of Canada, fheir Life and biork, a publication of the National Council a+ Women of Canada, documented the activity and achievements of Canadian women artists. The book included a chapter by Mary Dignam which highlighted the contributions of women artkts in such areas as education, exhibitions, and commercial art, and documented her female colleagues' prc+essional successes. Houever, Dignarn hersel+ identified patriarchal barriers to wcmen 's pro+essional artiçtic practice. She observed, "women are al lowed to become Associate Members Lof the RCA3, but have no voice or part in the Cauncil or Cornmittees a+ the Acaderny.@"= In 1897 when Carlyle returned to establish her career in Canada, -full Clcademician mernbership in the RCFi held distinct benefits, It endowed the recipient with a positian oi power within the artistic community, and, as Cherry points out in the similar case of the Royal Academy, such distinction yielded tangible material benefits, Pm+essional status was at stake: as artists, unlike dortors or lawyers, had no accreditation thrwgh a foraal college or examinatims, their occupational definitions uere tegulated by the art societies...Without this badge of professional status, uoœn artists did not participate nidely in the decision-making processes which established professionai standards and categorised exhibitable art. x3 The RCA's special classi+ication of women arnong the lower rank can therehre be seen not simpiy as discrimination but as part o+ a broader problem O+ gendered power relations which women artists such as Carlyle were obliged to confront and negotiatemi4 NOTRE BONNE CAHARADE : SOCIETIES OF WOMEN ARTISTS Wamen artists embarking on a professional career, and seeking broad pub1 ic +orums +or their work--a prerequisi te +or pro+essional practice, +ormulated strategies for deal ing with special categorization by art instiutions. One response was, "ta reverse the discourse, so empowering speech on and activities by women artist~."~~Thus, in keeping with the notion O+ matriarchal support, wamen founded art societies devoted exclusively ta the work o+ women artists. Deborah Cherry observes that in Britain, Categorisation of norren artists as separate and distinct fimt ctaierged in the 185%- It uas niobilisecl by,. , ~roupsof noaien.,.to lay claim to a collective identity and to promote the cultural preserice of woaien. In Canada women also founded societies to prornote the work of women artists. By 1887 the Women's Art Club was active in Toronto and branches were soon operating across Canada f rom Portage La Prairie, Manitoba, to St. John, New Brunswick, including London, Ontario, i7 In the spring of 1897 Carlyle exhibited with the Woman's Art Club (#AC) of London, Ontariogio The speci+ic aims of the London WAC were to promote women's artistic production and encourage professional practice: Cto establishl a school for original art training, and to have a nork-rrwsi accessible at al1 times to the students, tu go there and pursue their studies...in this way to pmvide oppartunity for al1 girls &O MY discover the artistic faculty and desire to improve it. ..qualifying theiselves for a professional caree~,~~ Thus. art educatian for women was a central goal O+ this society- (Fig. 3.1) In addition, "short papers" were presen ted to the memberç and, qortnightly meetings are held...Cwhere3 the students have the advantage of high pmfessional criticism and the kindly interchange of help froar one anothermZo Carlyle's association with London's WAC is an example of a sound pro+essional strategy which built upon her previuus contacts with an artistic comrnunity in close proximity to her home in Woodstock. Signi+icantly, MAC exhibitions attr-acted much local attention and the patronage of area dignitaries. fit the opening af the WAC in March O+ 1897. Carlyle was described by a reviewer as a sophiçticated artist whose recent educat ion in France was especial ly noteworthy, The young artist, who was heelf present, attracted as much attention as did her stmg, Fmchy mrk, for it is nat in her painting alone that Miss Carlyle achieves true Parisienne chic.=* In 1890 the WAC became the Woman's Art Association of Canada (WAACI - 2= The WAAC created exhibition oppartuni ties for bath amateur and professional women artists, The main exhibitions often toured +rom branch ta branch with local artists having the opportunity ta exhibit alongside such well known pro+essionals as Charlotte M. Schreiber and Mary Hm ReidP3 Annual exhibitions were held in smaller centres such as St, Thomas and London where the opportunities +or women artists to show work in public was fimited. Matronage or the direct promotion of art by warnen artists, was central to this newly furmed women's art society which included a range O+ artistic production: Ttiere are,..abwit seventy Pienibers [in the St. Thonas Branchl. They keep their studies up, practice, learn...Soae copy and - do original wrk; some are aaateurs and some are critics; al1 are united and interested in one another's ~elfare.~~ During the 1890's the WQAC, with many of their exhibitions heid in population centers across Canada, a+fered a valuable +arum for women artists such as Carlyle who were launching a career,=s She was a consistent participant with the association between 1897 and 1900, exhibiting seven paintings with the WAAC during these years, works which were subsequently shown at the OSA and RCA exhibition^.^^ Carlyle was also involved in decision-making activities within the Association, serving un the cornmittee organizing the groupes representation at the Paris Exhibition O+ 1900,"7 Carlyle's decision ta align hersel+ at the beginning of her career with two prominent women's art societies committed to women's art education and to the active promotion o+ the work by women artists, provided her with an opportunity to gain exposure acrcss Canada at an early point in her career- However, in addition, it is clear that the artist regarded the exhibitions in London, St. Thomas, and Hamilton as a valuable forum in which to launch her pro+essional pract ice within a specific geographical area close ta her home in Woodstock, Faced with the challenge of earning a living as a professional, Carlyle t-ecognized the f inancial bene+i ts O+ establishing a reputation as a prdessional artist and teacher in the London area, a ci ty where she already had connections with the artistic community. Thus, fram 1897 to 190S, Carlyle taught private students in her London studio and received many portrait commissions +rom city resident~,~~ By 1968, eleven years after her initial exhibition with Canada's premier women 's art societies, Carlyle widened her public sphere by her participation in Knoedler's Galleries' Exhibition of Paintingr by #oren Artists held in New York City. This exhibitian brought tugether the work of fi+ty- three leading women artists +rom Arnerica and Britain, Carlyle, wha was living and working in New York at this time, was the sole tanadian artist repre~ented."~ Her painting A Lily of Florence was exhibited alongside work by internationally respected artists such as portrait painter Ellen Emmet Rand (1875-1941) and others, (Fig- 3-2) Carlyle's participation in the Knoedler's exhibition marks a signi+icant point in her pro+essianal careerœSo While +erninist movements at the turn of the century tended to reject special categorisation of women artists, the Knoedler's show differed significantly +rom earlier exhibitions by societies O+ women artists in its +ocus on well known pro+essional artists whose work was presented by an important commercial dealer, in the recognized venue a+ art prdessional~,~~A critic for the New York Times pre+aced his comprehensive review o+ the show with the headline "Paintings Shown By Women Artists Lin3 Notable Exhibition at KnoedLer's Galleries" and praised "the exhibition O+ more than eighty pictures by women" as "dignified and engaginglu The exhibition was acclaimed as "an interesting variation in the multiplicity a+ the season's art shows, Women 's art societ ies, whi le creating a "separate sphere, " also succeeded in the promotian of women's art- Carlyle's strategy in negotîating a significant place for her art in the public exhibition sphere was clearly intended to take advantage of al1 opportunities ta exhibit work- She understood the importance of gaining broader recognition for her work in the professional integrated arenas controlled by male artists, Thus, in addition tu exhibiting with women's art societies during the early years O+ her career, she also exhibited with the Royal Canadian Academy (RCA), the Ontario Society of Urtists (OSA), and the Art Association O+ Montreal (AAM) alongside her male peers. THE CRITIC: EXHIBITING IN PUBLIC FORUMS Making a living as an artist depended on wide exhibition exposure, Regular production and frequent exhibition of nork uere essential, hile contributions to a range of exhibitions spread the possibility of critical notice on which a reputation as well as sales and cmatissions dependedms3 In 1897 a5 Carlyle chose a wide range of exhibition venues in which ta launch her work she may welf have been aware that many prdessional wornen artists argued that their work was equal, not different, ta aérn 'S.. .they worked to participate and intervene in the main exhibiting galleries.. .that 'everybody Cseesl ' rather than to re-fora the amas a+ p~r/kno~ledge.~~ There was opposition to exhibitions featuring only work by wamen artists by some wamen critics such as American Mary Fanton Roberts. In an article published in June 1908, shortly after the Knoedler's Exhibition, she argued that women's exhibitions were "Eighteen-Thirty in expression," and belonged "to the helpless days O+ crinoline when ladies -fainted if they were spoken to with undue harshness,"- This obviously did not deter or de+lect Carlyle, The most important showcases #or artists in Canada at this time were the open-juried exhibitions O+ the RCA, the Osfi, and the AAH. In particular RCA exhibitions were highly vafued as "the artists' ultimate measuring stick" because "their standards were higher and their base broader than the ather venues."36 Carlyle clearly arknowledged the value of these exhibitions to her professional career- In 1892 white still a çtudent in Paris, she began to exhibit with the AAM and +ollowed this initiative by sending wark to the RCA in 1895 and 1896, Furthermore, " just before returning to Canada" +rom her studies abraad, Carlyle learned "that her last canvas painted on +oreign soi1 had been accepted and hung in.. .the Royal Academy," in London, England--a significant achie~ement,~~Artists usually "wet their feet at the shows of the OSA and the AAM, then set their sights on thoçe o+ the A~aderny,"~~However, Carlyle once again challenged canventiorial expectations by being elected an Associate of the RCA an her return +rom Paris in March 1897, before she had exhibited at the OSA, She rernained a frequent RCA exhibitor until 19L6.J9 Carlyle's links with the Art flssociation O+ Montreal also contribute signi+icantly to her exhibition history. The AAM, incorporated in 1860, was described in the American Art Annual, 1898 as "composed of perçons more or less interested in hrt- -.it is not a pro+essional society, t'40 In 1898 the group boasted a membership O+ 750 and significantly did not place restrictions on women mernber~~~~While still a student in Paris, and despite the expense involved, Carlyle sent three painting5 back to Montreal to be exhibited in the AAM exhibitions. La vielle Victorine/Victorine (#ig- 3-3) was r-eceived in Montreal in 1895 with enthusiastic praise, having been hung in the coveted "on the line" pcsition in the 1894 société des Artistes Fran~aisSalon in Paris the previoui year where it earned meritorious recognition +rom the Parisian c~itics,~" Carlyle continued to exhibit with the AUM +rom 1892 untiL 1915. In Toronto during the last decade of the nineteenth century, three exhibition venues were O+ paramount importance +or women seeking pro+essional status as artists in Ontario- These included the WAAC, in which membership was restricted t~ women, the OSA, which unlike the RCA admitted women as #ulL members, and thirdly, the annual exhibitions in the Fine Arts Department at the TIE, Later renamed the Canadian National Exhibition (CNE), Carlyle took full advantage o+ the public exhibition spheres open to her in her bid to negotiate a significant place for her art, and each of these sorieties constituted an important forum for Carlyle and for that of other wumen artists in Canada at the turn O+ the cen tury. The Osfi, +uunded in 1872, had as its principal aim "the creation of a society ta foster "original" art in the province by holding annual exhibitions o+ the saciety members ' work, "43 Whi Le the OSA admi tted women as hll members +rom the time a+ its inreption, female members were still reçtricted in their access ta the executive functions of the society, While the works exhibited were chosen by a jury composed of member artists, gender di++erence was enshrined in the constitution, which stated that "women shall not have the privilege af voting or attending the meetings unless speci+ically invited ta da so by resolution O+ the Society."44 During Carlyle's career few women were invited to share in this pri~ilege.~~ Although Carlyle began exhibiting with the USA as early as 1897 and 1898, she was not elected a member until March O+ 1900,4L However in 1902 Carlyle was honored with the OSA prize of the year for The Tiff (fig, 1,5), a painting "Ccornmanding3 the most attention.-.and given the place of hanor--and deservedly 50."~~The OSA prïze carried with it great public prestige and the impact cf this award upon Carlyle's pro+essional career was felt irnmediately, when in the same year The Tiff was purchased by the Ontario f ravincial Government for the enarmous sum O+ 81000. The artist received international acclairn when the painting was subsequently loaned +or exhibit at the 1904 St- Louis World's Fair, The painting appeared alongside the work of her male peers in the Canadian +ine art section and "the international jury" awarded a silver medal to Carlyle.4P She continued to exhibit with the OSA until one year prior to her death in 1923-49 The American Art Annual of 1898 praised the exhibitions in the Art Department o-f the TfE, This exhibition undoubtedly cmstitutes me of the mst valuable hnctions of the Cûntarioi Sœiety Co+ Rrtistsl, as it reaches a great MSS of the people +mm all parts a+ the ProvincemSo A contemporary Toronto newspaper noted that "ta the rural population.. .the Fair is a Mecca. "si Carlyle '5 longstanding association wi th the TIE/CNE Art Department dated from 1883, when Princess Louise bought her work in the "Ladies Department." As we have seen in the previous chapter, this affiliation exposed Carlyle's work to a wide and varied audience and helped open the way +or her career as a professional artist providing access to a public exhibition sphere where she might cultivate dealers, critics and clients. The OSA exercised significant control over the TIEKNE art exhibitions, beginning in 1879 the OSA had twa representatives on the Fine Art Commîttee a+ the TZE and between 1890 and 1915, when Carlyle was a +requent ~:ihibitot-, the Art Department was managed by the OSA.s2 Artwark chosen annually by the Commissioners +ormed "a representative exhibit of current Canadian Art..-.+rom the annual Exhibitions of the Raya1 Canadian Academy, the Ontario Saciety of Artists, the Art Association Co+ Montreal 1, and the Canadian Art Club,"ss At first glance, despite the OSA management, women artists appear to have had greater, if unequal, representation on the executive O+ the TIE/CNE exhibitions, in contrast to the OSA where their exclusion +rom executive positions lasted until 1916.s4 Yet as early 1907 Mary Heister Reid served as the anly +etnale member on the Executive Council a+ the CNE's Department of Fine Arts exhibition. Signif icantiy, however, among the thirteen photographç O+ council members included in that year's catalogue Mary Reid's was one of the two members whose picture was not incl~ded,~~Between 1908 and 1911 several women participated, but in 1912 and 1913 the Cauncil was exclusively malelSL Women had some minimal and sporadic represen tat ion on the Execut ive Caunci 1, but between 1907 and 1913 the "Cornmittee O+ Selection and Arrangement" responsible for artist and artwork selection, and thereby controlling the potential for distinct material benefit, was exclusively held by men. Thus, although women were making gains in positions O+ power within the CNE Art Department during the years of Carlyle's exhibition at the Fair, their unequal representation in executive positions restricted women frum full participation in the decision making pracesses which offered admission to exhibition privileges and its consequent professianal bene+ i tsmS7 Despite unequal representation of women at the executive level, the TIE/CNE art exhibitions were another important public forum for women artists in Canada--a gender integrated public exhibition site, where women's works were presented alongside thase of British, American and Canadian artists, in a setting accessible to a broad range a+ social classes, One-third a+ the entries were to be Canadian, but these were presented in the cantext a+ "Celebrated Foreign Arti~ts,"~~ Thuç, the work of internationally renowned artists such as painter Elizabeth Thompson, Lady Butler (1846-1933), couid be viewed alongside painting5 by Carlyle and other Canadian women ,s9 Carlyle's exhibition history throughout her professiunal career reveals the artist's consistent utilization o+ a wide variety of public exhibition vecues which gained broad recognition for her ~;ork in pro+essional integrated ar-enas controlled by male artists. THE STUDIO: CARLYLE AS AN ART EDUCATOR Teaching enabled independence and.. ,for so many Euamen artistsl...in the clffiing decades of the nineteenth century, a self-determined life...60 Upon her return to Canada Carlyf e supp lemented her incarne by teaching art to bath private students and in a callege settingmLi Teaching art was socially one acceptable way for wamen ta augment their slim earnings as professional artists, fis was noted in chapter two, Ca~lyLetaught a class of private women students in her Woodstock studio, and at a summer school near St- Catherine's, Ontario, in order ta partially fund her studies in France. Soan after returning +rom Paris to rive at her parent's home "Englewood" in Woodstock, Carlyle established two studios. The first, "her home studio", was located in Woodstock "in part of tthe Carlyle family'sl red barn, Cwithl a very large double corner window supplying the necessary Light."6= She used this studio as a site O+ production and commerce: "Miss Carlyle did a number O+ small pictures there which went like hot cakes at oniy a hundred Ldollars3 ea~h."~~In the same year she opened a second studio in nearby London, Ontario, "in an upper room o-F the Masanic Temple. Significantly, it was in this larger ut-ban center that Carlyle chose to conduct her art classes and tutored her students. In addition ta the mundane requirement o+ earning a living, Carlyle, like many women artists, was attracted to teaching art not only +or economic reascns but equally impartantly as a means of providing art training for the next generatisn O-F women artists. The link to the concept of rnatronage muse be made here, for it is through art education that women access the sphere G+ professional art practice. Thus, as female artists bec- established in their omi right sane turned to the provision of an art training uhich had not been available for them uhen they uere younger.Ls These observations are particularly apt when one reviews the glaring absence of pro+essional female art teachers in the Woodstock/London region while Carlyle was a young student. Significantly, al1 O+ Carlyle's students known from her years O# teaching in London are female, and while it is not clesr if this was the artist's preference or yet anatheV example of the social imposition of a separate sphere, Carlyle's importance as a role model is clear. The significance of Carlyle as a positive female role model for those aspiring to a pro+essional artistic career can be measured in the success of her students, many of whom went on ta achieve professional status. Many students were also rnembers of the London WAC and cculd take advantage O+ additional art classes, studio space, art triticism and exhibition opportunites, Many O+ het- private students were women bent on seizing the opportunity to study under a professional artist, and specifically to study under a woman. Carlyle's classes in hsr London studio began about 1897 and continued intermittently until about 1903-L6 Several O# her students had considerable local exhibition experience prior ta theîr studieci with her. For example, Caroline Farncomb (I8S?-l95l), who exhibited with the WAAC +rom 1895, held membership in and exhibited reguiarly with the London MAC. She was was noted in lacal reviews as "a strong and interest ing student Carlyle's support O+ Farncomb and other çtudents can mast clearly be understood in the context of matronage- Cherry's definition of the term, "to matronise was to,..act as guardian, Candf guide", in other wurds to sustain women artists through +riendship, and tu assist in shaping a field O+ vision for the next generation of wornen artists, can be directly applied to Carlyle and her London st~dents-~~In addition to instruction and encouralgement, in some instances Carlyle o-ffered economic support when, cm occasion, she "discreetly left behind a little money in the studio for her protegf CEva Bradshaw3---insuch a manner that she would not be offended One can also see evidence of Carlyle's influence as mentor and guide for her çtudent's access inta the public world of art practice. Eoth during and after studies with Carlyle her students had increased exposure in national exhibitions. Farncomb's exhibit ion history, between 1897 and 3908, is a case in point as she showed work extensiv~lyin the same venues as Carlyle, including the OSA, #AM, CNE and RCA . Simi larly, €va Theresa Bradshaw i 1871-1938) , who +irst exhibited with the RCA in 1902, during her time with Carlyle, continued tu show work intermittently with the RCA until 1924 when she was selected to represent Canada at the Sritish Empire Exhibition in Wembley, England.71 Another signi-ficant link can be develaped between Carlyle's French and American art training and the fact that almost all O+ Carlyle's çtudents would continue their art education in either France or the United States. Undoubtedly Carlyle's presence in London as a teacher and practicing professional artist o+fered a strong role mode1 for aspiring wornen artists to +ollcw her example and pursue studies abroad. When London's WAC organized a +und for one of Carlyle's students, Far-ncomb chose to study in Paris at the ficademy Jul ian, the same school where Carlyle had en joyed success in the mid-1890s. 7= €va bradshaw, a+ter study ing with "Miss Carlyle", pursued her art education for several months in New York City at the "Chase School and with Mr. CRobert3 Henri."7= In New York Bradshaw was accompanied by her #riend M. Dorothy Betts (Seely-Smith) (1890-19641, and bath artists attended Robert Henri's classes.74 Nancy Poule, in her history o+ art in London, claims that Carlyle herself had at one time studied in New York with Robert Henri, and it is not impossible that Carlyle may have referred students directly to this dynamir American painter. 7s Betts would go on to continue art studies in Paris takins classes in "miniature work" +rom 1911 to 1913 under a "Madame Le-farge", who may be the same Rme Laforge, a pro+essor a+ miniature at the Academy Julian, the site O+ Carlyle's Parisian art training.76 In 1913 Betts exhibited in the RCA exhibition O+ that year and would continue ta exhibit at local venues includino London's Western Fair and the Wamen's Canadian Club exhibition of 1932.77 In 1926 Betts was instrumental in the +oundation of an art gallery for the city and thus the matronage o+ Carlyle had far reaching e++ects.7e Eva bradshaw, while still a student o-f Carlyle in 1901, received an important commission to paint the proscenium arrh over the stage at London's Grand Theatr~,~~Bradshaw went on ta a long career as an art teacher ln London, One of her students, Clare Eice, who served a5 President O# the RCA from 1967 ta 1070, described bradshaw as a teacher "who, in het- evening classes at the Technical School and in tprivate classes3 in her studio,, ,gave encouragement and help ta many stuclents o+ art Cfor3 over ...twenty years-"Po That Carlyle infiuenced her students in their attitude towards professional pr-actice, encouraging them to exhibit national ly and continue further art study abroad iç c~rrobo~atedby the number, betts and Bradshaw among thein, wha went an to work as professional artists and art educators. Carlyle's in+ luence was not limited ta Londan, Ontario. In about 1897 Carlyle "was asked ta take a class at Havergal College" in Toronto, which advertised its curriculum as a "thorough education cn modern iine~,"~~At this time Havergal wa5 a "Church of England Calfege +or Young Ladies," and ofSered boarding and day schoul education for çeveral hundred young women-o" Carlyle Eaught her art class in the college's "+ine large studio," until cl899 when she left to pursus a prafessionaf career in New York.s3 Like many of her contemporaries Carlyle was ernployed as a part-time educator in a fadies' college. In her book Painting Uoren: Victorian Homen Artists Deborah Cherry observes that in the Zater nineteenth century, women's institutions, including girl 's 5choo15 and women's colleges, tended to +avor women's art and culture and that matronage in these institutions "assisted in preferring wornen to,,,acadernic appaintmsnts,"e4 Despite the recognition O+ Carlyle's professional status by her appointment as an art instructor at Havergal, the senior teaching post and the directorship of the college's art department, was held by her male collegue, painter Edmund Nyly Grier (1862-1957),eS The clear implication was that Havergal promoted women artists and provided important vole made15 for female students, but privileged male artists in the most senior teaching posts and positions o+ executive power, For same time Havergal's art department advertised "painting and drawing" as being taught by "Mr. El Wyly Grier, RCA and others, " The "others" in this case included a woman artist, Miss Nainbymo6 Women's access to senior teaching and administrative positions within Canada's national schools of art appears to have been limited and structured by sexual di++erence- While little research has been dane in this area, the patriarchal order of late Victorian society, which priviieged male artists as art educators, apparently cantinued in place well into the first dgcade of this century, In britain women teachers were "rarely ernployed in the national network of schools a3 art and design."*7 Likewise women artists were commonly restricted to "low-paid, low status" teaching positions, and rarely attained senior teaching and administrative pasts, In Canada a similar situation appears to have existed, with male artists dorninating the senior teaching positions across the nation. In 1909 al1 the Directorial positions in major art schwols across Canada were held by men, as for example at HaliSaxJs Victoria School cf Art and Design, Montreal's Art Association Schoal, Hamilton's Art Schaol, Ottawa's Srhool of Art and Design CI+ the Art Association. and Toronto's Central Ontario Schoal of Art and Industrial aesign, iater calLed the Ontario Coilege of Artma- This hierarchical arrangement served to rein+orce traditional patriarchal relations O+ power privileging male teachers over +=male teachers and studen ts- Thus, a contrad ictory message was içsued to female art students which implied that women art ists, desp i te their presence as educators, were deemed less worthy pro#essionals than their male collegues. Despite the gendcr restrictions in place at the tirne, Montreal's Art Association School was Carlyle's next teaching venue. The AAM school was recognized nationally and in 1900 was listed in the American Art Annuai "Scho~lReports" as one of the six major Canadian schools of art instructionlgo Its mixed classes "followed,..an adaptation O+ that of the French Atelier" and clearly Carlyle's Parisian training was a valuable asset in this conte~t,~~She returned to teaching in Montreal about the year 1910 after having achieved pro+essional recognition in bath Canada and the United States- The high value placed, by the artist, on her role as an art educator is revealed in her staternent made in Montreal at the time, that "honors and medals and prizes, as welf as the sale of pictures to rich people at high prices Carel not the real rewards af art. "-= FRIENDSHIPS BETWEEN WOPIEN Throughout her career Carlyle was engaged in a network o-f female friendships. During the nineteenth and early twentieth century such friendships between women played a central role in sustaining and promoting women artists--and +unctianed aç an important strategy in the negotiatïon of patriarchal barriers to professional art practice. In the novelia Sisters in Art &y Anna Mary, serialized in 1852, a "sisterhood of women artists" was dedicated to art and "woman's culture," and +eatured women sustaining art by women artists, aims central to the notion o+ rnatr~nage.~~ The sustaining nature o+ female friendships and the significance of women's networks ta Carlyle's prof~ssional practice is expressed in her many paintings of female iriends, collegues, and kin. Carlyle's sisters, cousin, mother and aunt were frequently painted by the artist in bath portrait studiei, as in Partait of Sophie Yourans (n.d. 1, a study a+ her mother's sister (fis, L4i, and Portrait of HeLene (n-d. ), a study 0-6 her cousin, Helene Youmans Key. Carlyle's fernaLe family and friends frequently modeled +or paintings in which they were not specifically identified in the title, as in Garden at Englewood h.d. ), and Sumrer Horning iclWS), with her sisters Maude and iillian. (Figs- 3.5 and 3-61 The friends portrayed by Carlyle in these paintings, were oSten engaged in the arts, and thus active within a circle of artistic female friendships. The mode1 +or The White Flouer (~1893)is likely Carlyle's friend +rom Woodstock, the Canadian poet and author, Isabel Ecclestone Macpherson Mackay (1875-i?28), who visited Carlyle in faris during the early 1890'~.~~Years later in 1905, while living in New York City, Carlyle painted a portrait O# her friend Miss Moses, one of two artists with whom she shared her New York studiomgS Early in her career Carlyle actively sought links with a network of women in the arts through her association with women 's art societïes and through her teaching activities in Toronto and London, In particular, Carlyle established many +riendships with women artists in London, including her students €va Bradshaw and Caroline Farncornb, and among the members of London's Women's Art Club. One such friend was Miss Sertpude &, Minhinnick, a London sculptor and painter who exhibited with that city's MAC during the 1890's- Minhinnick and Carlyle spent the summer painting and sketching togethet- in Cape Cod, Several figure studies and landscape paintings with titleç such as Sunçet, Cape Cod (c-19601, and Comlng fide, Portuguese Girl at Cape Cod (c-1900), exhibited by Carlyle at the RCA, TXE and CIAM eshibitians the +ollowing year, indicate the influence of this tt-ipOg6 Judith Hastings, Carlyle's intimate cornpanion between 1914 and the artist's death in 1923, was often the subject o-f her paîntings- Soon after their first meeting in England in the summer of 1911, Hastings visited the artist in Canada and rnodeled for The fhreshold îcl9i2), and Spring Song (cl9l2). (Figs. 3-7 and 3-81 During the summer of 1912 the two joined the Canadian Alpine Club in their annual camp in the mguntains o+ British Columbiaœ Hastings, with prior climbing experience, undertmok the remote treks; however, Carlyle completed several landscape painting~,~~Carlyle later moved to England and in subsequent years, until her death in 1923, the two women shared a cottage in the Sussex countryside and a +lat in London. Hastings modeled for many painting5 during this time including An Awakened Chord (~19141,and #iqh Naon (cl9l8l. (Fig. 2-21 During World War I Hastings and Carlyle threw thernselves into war work and together volunteered in a medical supply depot, a canteen for munitions workers, and nursed convalescing soldie~s.~~(Fig. 3-9) A#ter the war Hastings encouraged Carlyle's recornmitment to painting- Ln 1919 Hastings bought the cottage, which they had rented for many years in the Sussex countryside, and paid for renovations to a "grey stone outbuildingll.Cinstal1ing3 a skylight", tu rreate a new studio for her #riend.99 (Fig. 3.10i The following year Hastings visited Paris with Carlyle who took delight in showing her "old haunts" and visiting ber former instruct~r.~~~The +riendship with Judith Hastings played a central role in Carlyle's private li+e and pra+essianal practice during the last ten years of her life- Correspondence between Carlyle and her +amîly attests to the sustaining bond between the twa women, %Oi Ln 1920 Carlyle wrote to her brother that she was content in her "modest, happy life with Judith," that they loved "Little humble things." She continued, "throughaut these years 1 have been confor table and happy--wi th my b lessed Judy CJudi th Hast ingsJ always keeping an eye on me-stepping between me and Zittle disccm+orts. 1 am a very fortunate waman."i02 SKETCH Of THE ARTIST: WOMEN WRITING ABOUT WOMEN ARTISTS Articles +ucusing un Canadian women artists, written by women, began tu appear in Canadîan newspapers and periodicals by the turn of the century. A number o+ these articles focused solely on one waman artist and provided substantiaf. biographical treatrnent, whi le uthers grouped tagether a number o+ women. Each of these articles helped redress the imbalance in the fiterature of art by directing attention to artistç who were otherwise overlaoked because o+ their gender. Wornen writing abaut art production by women was one strategy for dealing with their exclusion +rom, or classi+ication into ferninine stereotypes within, the literature of art. This response was aligned with the goals of matriarchy and "empowered speech an and activities by women artists. "ios Carlyle clearfy viewed public interest in her wark and private liSe with caution, A +amily member, Helene Key, observd in c. 1909 that Carlyle had, Cal steadfast purpose...CandI believed in herself.. .Choaever, she nas3 nithout any of the vanity that muid seen pemissible in vieu of the recognition de had already earned...little concerned about being persona1 ly acclaimed. lo4 Carlyle's concern +or privacy lessened several years later, in about f91Z7 signi+icantly, when she was refocusing her pra+essional e+forts +rom the United States to Canada. Carlyle may have used the world of women art journalists as a means to heighten her Canadian public expcsure at this ti~e-~~~In that year Carlyle invited Florence E. Deacon. a writer with the Toronto Globe, to have dinner with her at her harne in Woodsto~k-~O~Deacan subçequentiy published a comprehensive article on the artist +or her series "Representative W~rnen,"~~~The journalist prefared the article by asserting that "thaugh ...Cthe artist's7 name and work are CwellJ known,,,Eo+7 Carlyle herself Little has been written..,the reason is,,,she has not permitted it."foa Carlyle's strategy in recognizing and pursu i ng public exposure in the printed media is implied in the dramatic increase, between i912 and 1915, in the incidence of articles wr-itten by wamen jaurnaliçtç--including Wargaret Bell, and the artist Estelle M. Kerr, discussing her work. log Further indication that Carlyle actively sought publicity through women art journalists at this time is given by Blanche 8. Hume, an editor o+ Rod and Gun fn Canada and a writer for The New Outfook- Hume wrote that her interview with the artist in Navembet- cf 1911 or 1912, was initiated by a "telephane messaje" +rom Carlyle herself, I am sending away so~epictu- toœorrcw.,-wld you like ta come and see them before they go?...Coaie right out to the barn Lher studio1 you will find ire Anather article pub l isheQ in Madge Macbeth's series "Canadian Women in the Arts" in 1914 plared Carlyle centrally in her discussian of "prominent wamen o+ Canada" and +ocused an "how Ethese womenl achieved their successes.,-in the professional worid. "iii Whereas ear-lier, nineteenth century writers of magazine articles and biographicai entries on women artists tended to relate oniy "a series a+ anecdotes, ~ortrait vignettes and r-erniciscences, " MacBeth 's article placed emphasis on Carlyle's achievements as a "New Wamen," on her professional and persanal srowth, and an her struggle and triumph ûver- ad~etsity.~~~ -. i9u5, at the height o+ her pro+essional li+e Carlyle encauraged access to her l ife and car-eer by Canadian women journal ists, Clearfy the artist emplûyed this strategy 2s a means a* gaining eublic attention in the Canadian printed media at a tirne when 5he was reGacusing her prû-fessionai effat-ts +rom the United States to Canada. These articles preseztei hgr as an impat-tant professional role mode1 +or &amen. Such articfes empowered artivities by and speech on wümen àrtists, focused public attentionF includeu wornen in the discûurses of art, and emphasisea their role as producers G+ Canadian culture. THE PfCTURE BOOK: CARLYLE'S COMMERCIAL AND CUNHISSIQNED ARTWORK The "golden age" a+ illustratian in North America between i830 and 1920 was an et-a which oi+er~dtremendous earn a Living and enhance their public expasure in cammercial artDii3 Early Lx her career Carlyle reccgnized the potential bene+it~ta be gained +rom commercial art ventures and activefy pursued this avenue as an cmpurtunity ta further ber As Debarah Cherry points out "regular wark as comrnerzial artists.. ,h~lped women artists to counteract the f?uctuations of the art She continues, Woaen artists participated in the gming reprographie markets, augmenting their income +rom sales of ail paintings or watercolours and their reputations as artists by designing illustrations for magazine and book pub 1icat ions. a as Commercial art becüme an important genre +or women ar%istsat the turn O# the century. New York City was an especially dynamic center for commercial art ~ublicatianwitk periadicais such as The Critic, a "MonthLy Review of Lit~rature,Art and Life" publishing series of articles on the wot-k of "Representative American Women Illustt-atot-sDHifL The Canadian ar-tist Estelle M. Kerr-, writing +or a Toronto magazine in 1913 on the opportunitieç +or womm artists to earn an "extremeiy remunerative" living in the +ield O+ cûmmercial art, nûted that "artists who staive in garrets da so becauç~they absolztely rsfuse to work at anythiqg elselnii7 Kerr, in this article, advises aspiring and established women artists to take advantage O+ oppartunities within the +ield of commerial art to gain +inanciai independence, She encourages women artists ta pursue work in the areas o+ fashion draningl.,Candl advertisement drawingll.Cwhile1 the highest prices Eare paidl in book iIlustration...There is always a demand at the engraving, lithographing, and advertising establishments for girls with original ideas, In 1899 Carlyle made a bold and decisive decision fat- her pra+sssiûnal career when she rnuv~dta New York City and opened a studio in the "Bohemian" community of Greenwich Vi ? lage, Her "depsrture f rom Canada in 1899. - . .was resarded as a serious loss tcr Canadiar! art."**g For appro~imatelythe nest twelve pars the artist maintained an apartment/studio in New York City, aith intermittent periods in Woadstock, Ontario, Carlyle's reasons +or extending her pro+essional career to the United States, although never directly expressed by her, were commented upan by a writer friend who observed, "sbe CCarlyleI realized that success was more readily attained in larger centers and moved tu New Yorkgni- In 2903, ta ease her limited f inancial reçaurces and "gain recognition" throughout the United States, Carlyle entered a painting in the Osborne Calendar Company's "cornpetition #or an art ~afendar,"~~~fier painting, When Hother Uas A Girl (c11003), was unanimously awarded Sirst prize in the "figure subjects" category, despite "discussion as to whether or not it should be given outside the CUnitedl States Eto a Canadiar17-"~~=Carlyle's strategy in exploiting the potential rewards of commercial art ventures paid O++ handçornely and the recognition and f inancial rewards +rom her +oray into commercial art were substantia?. She receiveu +ive hundred dollars for the pzinting that was subsequently reproduced an a calendar and circulated as a postcard. i=3 In addition to the prize money, Carlyle "received a contract to paint twelve pictures a year at a salary of +ive thousand dol lars. Subsequent f y, the Osborne Company bought several af Carlyle's paintings each year +or reproduction in thei? art ~alendars,~~~(Fig- 3-11) Carlyle's triurnph in the 1903 cornpetition gained her public recognition and tinancial autanomy, and as one critic wrote in 1925, she "jurnped +rom abscurity ta fame overnight.,,her çuccess eclipsed that of tthe Canadian artist3 Paul Peel."lZ6 The "Annual Osborne Calendar Cornpetition" attracted considerable attention within the 6merican art world o+ the tirne- The Third Annual Artist's Cornpetition attracted over seven hundred paint ings wi th one hundreti entries exhibi ted in Clausen's firt Galleries in New York City during Septernber O+ 1905- Prizes were awarded to weil known American painGers such as Charles C. Curran, whose entry had previouçly been awat-ded the Carnegie prize at tne Society af American Artists, a silver medal at the St. Louis Exposition in 1964, and the Corcoran Prize at the Society o+ Washington Artists in i905,a27 by the turn a+ the century technological advances in printing were seen as a democratising trend, extending the influence of artists and paintings into every hame. High- speed presses, half-tone plates and four-color printing technology allowed color reproductions O+ paintings, as an advertisement of the tirne asserted, with al1 the qualities of the original retained...doing for art nhat the invention of mavable types did for literature-it puts the printing press at the service of the painter, extends the influence of painting beyond gallerie rie^.^ The "democratisati~n"of art was the Osborne Company's stattzd aim and in adv~rtisrnentsfor their calendars they asserted, painting was for centuries of Iittle practical benefit..,art galleries were +ew-to ac~+olksn almost inaccessible- Mau, anyone may have good pictures, Osborne calendars "+ramedn the color reproduction of the drawing uts painting above the name and address of the service or Company name advet-tised, and thus made art accessible and in doing so presented "A Practical Use For Art": Lin Osborne art calendarsl painting is harnessed to practical wurk..-advertisers are,..helping "coaaron folksa ta an appreciation of good art, rrhile obtaining profitable puôlicity for themselves- The Osborne Company's relationship with artists and the public, hawever altruistic their claims, was cleariy driven by a whally commercial agenda. In addition to tne annual artist competitions, paintings were obtained by two means, The first was to buy them directly +rom exhibitinns using 'l~co~t~"who assesçed the mass commercial viability and public appeal of the work. O+ten these paintings were prize winning. Alternately, the Company cammissioned paintings directly +rom the artist with specific requirements regarding size, -format, style and sub ject matter, f3s Carlyle's commissioned work +or the Osborne Company, with the exception oS the initial prize winning painting, falls inta the latter categary and thus was subject ta these cunstraints. Carlyle +requently had dif-ficulty working within these parameters when +ul+iiling her contracts, and +or every painting chosen for publicatian, she submitted three or +our paintings to the Osborne representatives. Helene Key, who accompanied Carlyle to New York City as a mode1 in 1908 recalled that, A representative from the ûsbome Company cane to discuss,..the work to be done. A number of sketches were to be submitted froa uhich wld be chosen those best suited to the Calendar requirearents..,Cafter al short time the sketches nere ready for appraisal, were accepted without delay and theWm,sixlarge pictures beganw..,xs2 The subject matter in rommercially comrnissioned art work tended to be strictly gendered, As Cherry points out, women artists were cammissioned for "vignettes cf middle-class and social life" while their male c~ntempora~ieswere cammissioned for scenes a+ urban paver-ty and cantemporary political or mi1 i tary events, isg 1 n the United States the subject matter of commercial art was similarfy gendered, In 1900 Regina Armstrong in her article on American women illustrators asserted that, mypublishers hold that certain qualities O+ pictarial interpretatim are distinctly the faculty of woran's delicacy and insight to portray, and especially...the studies and cœpositims depicting child life- Gendered di+-ferences are gvident in the subject matter of Osborne calendar paintings with male artists contributing urban street scenes, landscapes, and men in "action" scenes, whereas women artists were comrnissioned for idealized visions of middle-class social li+e and femininity, as +or example in Clara Davidson 's watercolor The Debutan te (1902). The Obsorne Company's selection a+ Carlyle's figure paintings, which include Uhen Hother #as a Girl (19031, Always Room For One #ore (~19071,and The Girl btith the Laughing Eyes (~1905), clearly demanstrate the company 's notions regarding appropriate subject matter +or wamen artists and the gendered restraints under which women artists worked in the field O+ commercial art. *=' Sea Breezes Cc. 1908), a painting of a wornan standing on the deck O# a ship, is said ta be "a goad example of her calendar style, "f37 (Fig. 3-11) Carlyle's "very SUCC~SS~U~~~commercial art style was characterized by the Canadian artist Estelle Pl, Kerr as "excellent in technique,-,Cwhile containingl sufficient human interest to make it popular in colored reproductions-"*- Charly, Carlyle recognized the appeal O+ her subject matter and her strategy was to operate in the commercial art world in an e+#ort to make direct and substantial financial pro+its and to gain wide public exposure for her wurk throughout North America, A7 THE HfRROR: CARLYLE'S PORTRAIT COMMISSIONS Carlyle executed many portrait commissians throughout her career. Portraiture, by virtue of client specifications and relations, wa5 closely Linked to the commercial aspects of artistic practice- Despite these considerations, Carlyle's success as an artist was in part due to her talent for portraiture, Her ort trait commissions along with her commercial work +or the Osborne Company are exampies o+ strategies which compiemented the exhibition O+ her work in more conventional public venues. While a student in Paris, Carlyle hefped support herself by drawing portraits of her +ellow Qmerican studentsœaf9 When she returned to Canada, early critical acclaim for her portraits assisted the artist in securing a t-eputation as a portraitist of distinction. In the RCA exhibition o+ 1898, three portraits by Carlyle evoked praise +rom the critics, "Miss Carlyle displays in Cthese partraitçl,..delicacy and sweetneçs combined with pouer and richness.. ." - 140 (Fig- 2-11 Another critic asserted, Them is a touch of qenius in her work, dash, breadth, truth,,,,the portrait of her bmther is stmgly drawn,,,the portrait of her mother is exquisite in feeling. Carlyle's portrait O# her mother, Hrs Carlyle ic.1893), waç once again exhibited befare the Canadian public in Toronto's Portait Loan Exhibition of 1899, and the artist, just beg inn ing her pro+essional career, was described in the local press as "a portrait painter.,,one crS,,,a few names Cthatl stand fcr portraiture,. ,in Canada. " (Fig, 3, t 1 The painting was exhibited alongiide the work of the well known Canadian partraitists, Robert Harris, E. Wyly Grier, A-D, Fatterson? and F. McGillivray Knowle~,~~~At the turn o# the century Car-Lyle executed a number of portrait commissions in London, Ontario, One reviewer O+ the "Portraiture Section" in the RCA exhibition a+ 1902 wrote O+ Carlyle's entries Portrait, tfr- Edwin S. Carlyle (c,1903i, and Portrait, Hrs- Ernest Smith (c,1902) --"the artist 's work is vigorous and striking."x43 While living in New York the artist worked "doing portraits mostly, " a44 Fergus Kyle, re+erring to Carlyle's work in the years just prior to 1913, commented that in addition to her "splendid technique" the artist 's +igure painting5 display an "atrnosphere of human interest, which Ernakel, , - them pictur-es, not rnet-e studies, "i4s Carlyle moved to England in 1913 and #our years later during the First Wcrld War, she was commissioned by the Canadian government to paint a portrait of Lady Drummond, Assistant Commissioner o+ the Canadian Red Cross.a46 CFig, 3.12) Critic Roy Franklin Fleming drew attention to the power+ul combination a+ Carlyle's interpretive and technical abilities in her portraits o+ women. He observed that they "Cgivef evidenre a# a vast and intimate knowledge O# +erninine character and a technical abi lity that- - - Ci53 almast consummate. " i47 Thus, portrait carnmissions, beg inning in the earfy 1890s in France and continuing to her War Mernorial portrait in 1918, constituted a central +acet O+ Carlyle's professional prac t ice and ach ievemen ts throughout her career, A LADY Of CANADA: CARLYLE'S EXHIBITIONS IN THE UNITED STATES Carlyle's success with the Osborne Prize in 190s occwed at a time when the artist was extending her professional career inta the United States, Having moved to Greenwich Vil 1 age in c. 1899, the +requency CI+ Carlyle's exhibitions in the United States steadily increased during the first years o+ the century, marked most notably hy her award in 1901 of an Honorable Mention for Golden Rod (c.1901) at the Pan-American Exposition held in Buf+alo, New An important achievemen t, the award p laced Carlyf e amonq such welL known American women artists as Lydia Field Emmet, Ella Condie Lamb, and British artist Anna Lea Merritt, who were similarly awarded Honorable Mentions in the Espositi~n.+~~ In 1902 Carlyle exhibited with the Art Club OS Rochester, New York, and in the spring O+ 1904 with the Society of American Artists at their annual exhibition in New York City.iso In a show dorninated by such celebrated artists as James McNeill Whistler (1834-19031 and John Singer Sargent (1856-10251, Carlyle and Laura Muntz were referred to as "the Canadian representative painters in New York,"isi This was a signifîcant achievement for Carlyle, since the S,A.G.. one O+ the most important Arnerican artist societies a+ the tirne, sought to provîde a forum +or new trends in art and one of its stated aims was ta encourage women artistsliS2 In the summer of 1904 Carlyle was awarded a silver medal +or The Tiff at the St, Louis Morfd's Fair, outdoing many of hm- Canadian male col leaigues, including Challener, Cul len, Gagnon, Reid, and Watsûn, whu were awarded bronze rnedai~.~~= Consistent with her extended focus into the United States at this tirne, Carlyle's work was conspicuously absent the OSA'S annual exhibitions between 1904 and 1906 and she chose instead to ~xhibitduring these years with the Pennsylvania Acad~myof Fine Carlyle lived in New York intermittently between 1839 and 1912, and the stt-ongth of her wcrk, despite keen cornpetition, consistently earned her commissicms, Whife at work one day in her New Yark studio "twa men cane...to give an order +or wurk, and thought her another artist entirely. But CsheI.. ,got the work, "lSs Despite social constraints, Carlyle promoted herself and her work with ronsummate ski11 and achieved a balance between her public identity a= a well respected pru+essianal artist and the pragmatic financial aspects O+ her professional practice. Thus, Carlyle exempli+ied the distinctive traits of the New Woman in her strength, economic independence, and quest for personal DEALERS, PATRONS, PUBLISHERS: GENDERED POWER RELATIONS A relationship with a dealer was the key ta an artisi's sales ana commissions, 49 successful career required,..the careful cultivation of dealers.,.a relationship with a dealer helped men artists to counteract the fluctuations of the art market. If Hawever, the business of art was structured within the larger cantext of gendered pawer relations in which women artists wertz positioned unequally in relation ta male dealers, patrons, and pub1 ishers. While art dealers had "stables" O+ artists whose work they cornrnissioned, many dealers "tokenized women Cartistsf and staged...spectacular successes +or male artist~."~~~ Carlyle herseli narrowly missed having a sofa exhibition, which would have featured hep wurk exïlüsively in a New Yor~ galiery, due to the unreasonable demands of mne dealer regarding the timing cf an exhibitian. When interviewed in 1914 abcut her work in New ?ork, Carlyle recalled haw "a :-L.- .--lca~m[New 'fct-k1 pictu-= aealer, wha +elt as thou5h he hac! 'dircovet-ed het-', zifered her à 'one man exhibition' in his gallery,,.she could not meet the dernand, foi forty canvasesL..having scld rnost cf what she had on hand" at that time,1s8 Although this de aie^ and the name a+ his gallery remain unknawn, Carlyle was associated with several New York galleries. The +irst was the prestigious Knoedler's Gafferies, lacated on New York's Fifth Avenue, where she exhibited A Lily of Filorence (c. 19081 in the Exhibition of Paintings by Woren Artists in iW8- Is9 (Fig. S.2) She also sold paintings through the Fifth Avenue Art Galleries snd the Sutrliffe Gallery in New York, Jenkins' Art Galleries in Toronto, and O. B. Graves in London, Ontario. Gender-ed power relations were evident in the field o+ commercial art at the time Carlyle executed commercial commissions in New York at the turn O+ the century. The Canadian artist Estelle Kerr, who had herself warked in commercial art, nated that after an in#luential American magazine editor had interviewed a "rnodest Canadian girl iLiustratortl he stated, "Very nice, indeed, Sut she'll never get on in New York." When asked by a male artist what was wrcmo with her work, he replied, "nothing, but çhe's too murh oi a lady. - .she ought in.. .corne in.. .and jolly you into giving her a stary,--that8s how they do it-"a6a In the same at-ticle Kerr asserted that, "when Cart7 is mixed up with sditors, ferninine charms are a gr-~athelp. When a friend O+ mine sold her +irst drawing ta 'Harper8s'..-an editor dampened her pride Lin her workl by saying: Ah, that's what cornes o+ being a pretty girl!"a6z Art dealers could capitalize an an artist's financial need, Carlyle occasionafly had di+#iculty in extracting payments and had ta negotiate changes in estimates O+ value +or painting5 to be ç01d through her London, Ontario, dealer O, F, Graves, Although under pressure to accede to the dealer's demands to lawer her prices, the artist's carrespondence with Graves reveals her strength and decisiveness in business transacticnç- Carlyle wrote, This is rny decisiori...I will sel1 "The White Flouer" for CS3ûû1,.9and "The Story" for CS175l,,..There are thme Cmore to ~osrel-~The Spring Songw, "Mother and Child" and "the Threshuidag..Ctheyl have no cracks-and prices nill be fixedi6= Zn her business affairs Carlyle challenged the rnyth of women as passivs, and as her activities and strategies within the world of commercial art demonstrate, she clearfy possessed the ability to negotiate firmly and lead a self directed professiana? life in a social structura shaped by senual dif+erence. Abaut 1910 Carlyle closed her New York studio and began ta re+ocus her pt-o+essional career away Srom the United States, and +rom American commissions and e::hib i tions. fhe artist turned her ener-g ies toward Canada, tsach ing in Montreal, increasing her expusure in Canadian exhibition venues, and iater returning to live in Waadstock, Ontario to rare fur an ailing parent. 1'4 iFig. 3 1 She was included among several Canadian artists ''welcomed home" to Canada by the writer of the CNE Art Department catalogue of 1913,"s The writer pointed out that, In the United States,. .the work of Mss Florence Carlyle has ben received nith admiration for the cham of color, the suave but decisive brushnork and the poetic çympathy with noesanhocd and infan~y.~~~ Throughout her years of professional artistic practire, Florence Carlyle employed diverse strategieç and alternatives ta negotiate conditions O+ artistic prcduction in which masculine values and concerns were the privileged made, in orcier to astablish and sustain her pro+essional practice. As a woman artist, she overcame barriers a+ entry tn pro+essional practice to exhibit in national and internationai public venues, aespite institutionalized sexüal differencês which often Lzmited women's status as artists or their roles in decision makin~within organirations- In a worlc! divided and de-fined by sexual di++et-ence, Carlyle perslsted in her go21 of financial independence through pro+essianal practice, r-egardless of restrictive conventions and patriarchal barriers. Mithin the fields ut art education and cornmerciai art, Carlyle, like the wamen artists of her generation, was subjected to gendered pawer relations with male patrons and employers, and was in+ luenced by pressures which restricted the very subject matter found acceptable in wornen's art, Aspects o+ her career can most ciearly be understood in terms of the concept O+ rnatranage, Amang the strategies which Carlyle and other women artists employed to negate the effects of patriarchal barriers, her ef+orts as a teacher oi warnen artists, her participation in exhibitions and soc ieties of women artists, and her many friendships and links with a network a+ women in the arts, worked ta promate wornen's artistic culture and to sustain Carlyle personally. She actecf as mentor, guide, and role mode1 ta her warnen students, and conducted the financial aspects o+ her art practice with skil2, allcwing her tu live largely independently of the social oSl igations pf aced an most women of her f ime. Carlyle's achievements of critical and economic success in het* pt-ofessional practice established hep as a roLe mode1 +or women in her lifetime, and heiped ta shape a new +ield o+ vision +or the next genet-ation o+ wamen artists. Notes to Chaptet Three 1. F. Caraemn, "Beauties of the Brush, London Mvertiser (London, Ontario) c.l'larch 1897, n.p,, clipping file, W Archives (WCA). 2. Lally Bernard, "At the Breakfast Table," Globe (Toronto) 4 Harch 1902, 5. 3. Cherry, Painting Uomen, 96, 4. Anna Lea Herritt, "A letter to Artists: especially womeri artists," Lippincott's Monthly Hagazise 55 (1900)~463-9, as quoted in Cherry, Painting Uoaen, 101, see also p. 218, Herritt, (1844-19301, was a figure painter. 5, Ibid., 101, 6. fbid., 102. 7. Ibid., 96, 8. Exclusion or special categorisatim of wuœen &y societies of artists uas a common practice at this tiœe. Britain's Royal Academy of Arts bar& women +mm membership thmghout the nineteenth century, although at its +uundation in 1768 there had been twa worsen members, Angelica Kauffmann and Hary her. No other woaien attained arwtbership until 1922 when Annie Robinson Swynnerton was elected am associate of the R.R, Ibid, , 65, 236, note 1, Woaten did rrot achieve the status of elected Academician untiL Laura Knight was elected in 193é, see Susan Casteras, Images of Victorian Momanhood in Engizsh Art (London and Tomto: Associated University Press, 19871, 103, 9. Florence N. Levy, ed,, American Art Annuai, 1898, (New York: tlacmi 1lan Company, 18991,l: 123, 10, Sisler, Passionate Spirits, 36. 1. Lynn C. Doyle, "Art, " Saturday Uight (Tomnto) 20 March 1897, 15. Carlyle was re-elected an Associate Academician of the RCA in 1912, se Sisler, Passionate Spirits, 281. 12. Mary E. Dignam, "Canadian Women and the Develapment of Art", in Uomen of Canada, Their Life and Mork, coqiled by the National Council of bteen of Canada at the request of the Hwt. Sydney Fisher (Toronto, lm, reprinted 1975>, 217. 13. Cherry, Painting Homen, 65. 14. Ibid, 15. Ibid,, 67. 16. Ibid., 76-77. 17. The branches at the turn of the century included Bmckville, Hamilton, Kingston, Ottawa, kntreal, St. John, Neu Brunswick, and Portage La Prairie, HanitOba. See, Florence N. Levy, ed., Aaerican Art Annual, 1900-1901 (Boston: Noyes, Platt and Co., 19001, 3:96-97. 18. This preceded the WC\AC exhibition held two months later, in May of the saate year, Founded in 1893, the Wcnuan 's Art Club of London became a branch of the WACU= +rom 1894 to 1896, at uhich tinie they discontinued this alliance and reformed as the MAC a+ Ladori. National Couricil of Woiaen, Homen of Canada, 217. They held their first annual exhibition in the "Y" rooas, likely the Young h's/kmen's Christian Association, on Dundas Street in London, see "The #aman's Art Club, Exhibition of Paintings at the "Y" Raams," unidentified London newspaper, c.1894, n.p., clipping file, WAACA. Subsequent exhibitions were held at the ban's Art Club rooms located on Richmd Street, opposite Carling Street, and in the "upper rooms" located over the reading mm5 of the Public Lihrary, "where a rom has been specially designed for such a purpose, the splendidly arranged lights shouing to advantage Cthe worksl, see "China Painting: Second Exhibition of the Women's Art Club," unidentified London neuçpaper, c. March 1896, clipping file, n.p., WMCA. 19. Emphasiç mine, "The ban's Art Club, Exhibition of Paintings at the "Y" Rooms," clipping +île, n.p., WAACA. 20. Ibid., n.p.. 21. F. Caneron, "China Painting: Second Exhibition of the Women's art Club," unidentified London newspaper, c. March 1897, clipping file, n.p., WCIALA. 22. "Art Association," unidentified Montreal newspaper article, c.May 1896,n.p., clipping file, WAACA. First named the "Woman's Art Club" in 1887, the Society began in Toronto with twenty ineirtbers and held its first meeting in Mary Dignam's studio, see Jean Bannerman, Leading Ladies, 209. 23. Schreiber was a frequent exhibitor with the WAK, see Woman's Art Association of Canada, St. John 8ranch of the idoaan's Art Association of Canada, (18971, 1; Miss H. Deeks, Historical Sketch of the #o.en's Art Association of Canada (Toronto: Wumen's Art fissociatiun of Canada, 19121, 2,3., WAACA. 24. Emphasiç mine. "The Art Exhibit", Landan News (London, Ontario) 27 April 1897, n.p., clipping file, WAACA. See also, Appendix 2, Exhibitions. The #WC alsa organized lectures on art that were open to the general public, as for example that by Professor James Navor, from the University of Toronto, who spoke on William Morris on 20 January, 1897, and Reverend Father Ryan who was to lecture an Fra Angelico the next week. Lynn C. Doyle, "Art," Saturday Night (Toronto) 23 January 1897, 9. 25. Cherry, Painting #o.en, 67. 26. For example, Harvest Hoon, also called Harvest Hoon, "Barbizon", which was f irst exhibited with the MAC spring tour in 1897, was exhibited again in 1898 at the OSA annual exhibition, and again in 1901 with the RCA. Nrs- Carlyle (c.1893) was exhibited in 1898 at the RCA annual exhibition and subsequmtly in 1899 at the Loan Portrait Exhibition organized by the WAAC. Wamen's art Association of Canada, Homan's Art Association of Canada, Winth Annual Exhibition, (18971, 4; RCA Exhibition Catalogue, (l898), 8; and Loan Portrait Exhibition, (Toronto: Women 's Art Association of Canada, 1899), 339 See Appendix 2, Exhibitions. 27. National Cauricil of Morneri of Canada, Woien of Canada, VfI. Carlyle was a derof the Wrt, Handicrafts, Drama and Music" sub-caawrittee for the Womgn's Departrirent arranging +or the represmtation at the Paris International Exhibition of 1900. Mary Dignam, Mary Phillips, and Lady Tilley also worked on this committee. 28. Poole, Art of London, 70. Many prominent Lmdon families were erembers, patrons, or on the executive committee of the WAC of London. Surnames such as Carling, Betts, Gibbons, Smallman, and Hyman are doc-ted in contemporary writing. "The Woman's Art Club, Exhibition of Paintings at the "Y" Roams," clipping file, nap., WMA. 29. *Paintings Shown by Women Artists," Uew York Tires, 21 +ri1 1908, 8; and, Knoedler's Galleries, Exhibition of Paintings by Homen Artists, (New York, 1908), library archives, Knoedler & Company, N.Y- See also, Appendix 6. 30. Rlso exhibiting in this shon were Lydia Field Emrnet, mural painter for the Women's Pavillon at the 1893 Chicago World's Fair, Lydia Claianda Breffiter Sewall (tBW-iW6), the first woman to win the Clarke Prize at the National Academy of Design in 1903, and British watercrolorist Wioda Holmes Nicholk, an instructor at William Chase's summer art schml at Shinnecock HilLs, Long Island, New York. Charlotte S. Rubinstein, American Woaen Artists: from Eariy Indian Tiaes to the Present (New York: G.K. Hall and Avon, l982), 118, 123, 164-16s. 31. Cherry, Painting Uoien, 77. S2. "Paintings Shm by Women Artists," Heu York Times, 21 April 1908, B. 33. Cherry, Painting Homen, 96. 34. Ibid., 68. 35. Giles Edgerton Lpseud. of Mary Fanton Roberts], "1s There a Sex Distinction in Wt? The Attitude of the Critic Toward Women's Exhibits,' The Craftsran 14 (June 1908) mprinted in Barry Sande~,ed., The C~aftsman: Rn Anthology (Santa Barbara and Salt Lake City, 1978), 205. 36. Sisler, Passionate Spirits, 43. 37. "Painteir and the Public," Haii and Empire (Torunto), Christmas 1898, 14. In 1895 Carlyle exhibited Out-patients at the Royal Academy, see Algernon Graves, The Royal Academy of Arts, A Complete Dictionary of Contributors (London: Henry Graves and George Bell, 19051, 1:395- See alsa Appendix 2, Exhibitions. S8. Sisler, Passionate Spirits, 43-44. 39, Carlyle first exhibited in the annual exhibition of the OSA in May 1897, two months after her elertion tu ARCCI status with the RCA. çhe is Listed in the 0% exhibition catalogue of 1897 as "Carlyle (Miss Florence), 4.R.C.A." Ontario Society of Artists Catalogue 1897 (Toronto, 18971, 1. One notable gap in Carlyle's RCA participation occurs between 1905 and 1909, at a time when she is mast active in her American commissions and exhibitions. See Appendix 2 and Appertdix 3, Tables Showing Frequency of Exhibitions. 40. Levy, American Art Annuai, Zû98, 1: 128. 41. Ibid. 42. Victotine was exhibited at the MM as number 24, La Vielle Yictorine and was offered for sale at the price of $200, The painting was subsequmtly exhibited in the RCA exhibition in Tomnto in April of 1895 and Carlyle's address was given as "Paris, France. " Evelyn de R, McMarin, Montreal Ruseu. of Fine Arts, formerly Art Association of Montreai, Spring Exhibitions 1880-1970 (Toronto: University of Toronto Press, 1988), 59, Çee alsa, Royal Canadian Academy of Arts Catalogue 1895 (Toronto: Royal Canadian Academy, 1895) , 8, It was nat uncornon for Canadian artists, while resident in France, to send painting5 to be shoun in Canadian exhibitions, see David Wistow, Canadians in Paris 1867-1914 (Tomnto: Art Gallery of Ontario, 1979), 9, 43. Fern Bayer, The Ontario Collection (Markham, Ontario: Fitzhenry & Whiteside, I9W), 42-43, 48, See also, Joan Murray, The Ontario Society of Artists: 100 Years 1872-1972 (Tomnto: Art Gallery of Ontario, 19721, 5, 44. Ontario Society of Artists, 75th Annual Spring Exhibition (Tomta: Ontario Society of Artists, 1972), 9. See also, Hurray, Ontario Society of Artists, 6. 45. One exception was Charlotte Schreiber who was allowed to attend meetings as she represented the OÇA on the cwrncil of the Ontario School of Art and Design, see Allison Thompswi, "A Warthy Place In the Art of Our Country: The ben's Art Assaciaiion of Canada 1887-1987," (HA, Carleton University, Ottawa, Ontario, 19891, 8 and note 83. 46. Jean Grant, "Studio News," Saturday Miqht (Toronto) 17 March 1900, 9, 47. T. Square fpseud. 1, "Notes on the ûS# Exhibition, " Saturday Uight (Toronto) 8 tlarch 1902, 7. The OSCI prize "carried with it the sum of $260," see "Studio News," Saturday Night (Toronto) IS Harch 1902, 9. 48. St. Louis World's Fair, Louisiana Purchase Exhibitim, Canadian Section, catalogue no. 14, (St, Louis, Missouri, 1904). Silver medals were also awarded to Canadian artist William Brymner, Edmund Dyonnet, Robert Harris, and A.C. Williamson, see Sisler, Passionate Spirits, 81. The great appeal of The Tiff endured, in 1913 it was reprduced in The Canadian #agarine and in 1930 it was repraduced in The Chatelaine. The painting is presently in the collectiwi of the Art Gallery of Ontario, Toronto, See "The Tiff," The Canadian Haqazine 41 (June 1?13), 153; "The Tiff by Florence Carlyle," The Chatelaine (August 193ûL 49. Carlyle was a member of the society only until 1906. Significantly, a gap occurs in Carlyle's exhibition history with the OSA between 1904 and 1909 similar to that which occurs in her RCA exhibitions. See Appendix 2, Exhibitions, and Appendix 3, Tables. 50. Florence N, Levy, ed-, American Rrt Annual, 1898 (New York: Macmillan, l8W), 1: 132. 51- "The Great Fair Formally Cbpmed", Toronto Oiily Hail and Empire, 1 Septder 1897, 1- 52, Levy, herican Art Annual, 1û98, 1: 132- See al-, Murray, Ontario Society of Artists, 8; and, Norman Patte-, "The Exhibition Habit, " The Canadian Uagazine 27 (August 1906) : 290-298. S. Robert F. Gagen, "Industrial Exhibitions 1876-1915", in "Ontario Art Chronicle," F1S MU 2252 Ontario Archives, Tomto, and the Canadian National Exhibition Archives (CNEA), Toronto, n-d., p. 92, 54, In 1916 Mary Heiçter Reid served on the Executive of the OSA and she uas the first wuman to do so, Natalie Luckyj, Visions and Victories: 10 Canadian Waien Rrtists 1914-1945 (London, Ontario: Lmdun Reg imal Art Gallery, 19831, 109, 55. The other nas M. Cruikshank, see Canadian National Exhibition, Catalogue of the Department of Fine Arts, (Toronto: Canadian National Exhibition, 1907), 3- 56. Mary E. Wrinch served on the Executive Comci 1 in 1908, 1909, and 1910, Sidney Strickland Tully in 1909, and Hrs. J.E, Elliott served on the Cwtncil in 1911, see &nadian Hationai Exhibition, Catalogue of Department of Fine Arts, (1908). 1; Canadian Clational Exhibition, Catalogue of Department of fine Arts, (19091, 1; Canadian National Exhibition, Catalogue of Departaent of Fine Arts, @WC)),1; Canadian Uational Exhibition, Catalogue of Department of fine Arts, ( 191 1) , 5; annual CNE exhibition catalogues file, CNEA, Toronto, Si- CHE Catalogue (19071, 3; CME Catalogue (l9O8), 1; CHE Catalogue i 19091, 1; CHE Catalogue 110, 1; CHE Catalogue (19111, 5; CIVE Catalogue (1912), 5; CHE Catalogue (19131, n-p. 58. Gagen, "Ontario Art Chronicle," 92. Work by nm- Canadian artists was +requently integrated with that by Canadian artists and not confined to a separate section. See for example, CHE Catafogue (l9G7), 5-7. 59. See Appendix 2, Exhibitions. Thctupsm's work was exhibited at the CNE in 1908. Canadian women artists exhibiting in the first decade of the cmtury included Beatrice Hagarty, Clara. S. Hagarty, Carrie LmHillyard, Marie H. Holmested, Marion NI Hooker, Francis W. Loring, E. May Martin, Harian E. Mattice, Helen 6. McNicoll, Mary Hm Reid, Gertrude E, Çeurr, Ida N. Stanley, Habel Pl. Stoodley, Sidney S. Tully, Mary E. Wrinch, and a student of Carlyle's, Camline Farncd. See CNE Exhibition Catalogues (1900-1910)- 60- Cherry, Painting Woien, 62, 96. 61. Julia Gualtieri errmiously claims in her thesis that Carlyle did not "include teaching in her career," despite clear documentation in contemporary publications. Julia Gualtieri, "The tloinan as Artist and as Subject in Canadian Painting (1890- 19SO) : Florence Carlyle, Laura Huntz Lyall, Helen McMicollm (MA, meen's University: Kingston, Cntario, 19893, 157 and note . See alsu, Appendix 5, "Wwnen Art Educatcrsn. 62. "Florence Carf yle, Artist, " Christmas Echa (London, Ontario) December 1911, n.p., Woodstock Public Art Gallery Artist Files. 453. "Hemory of Florence Carlyle Honoredu, 1936, n.p., 64. Ibid. See also, "Florence Carlyle, 'Artist", 1911, n.p-; and Poole, Art of London, 68- 65. Nunn, Victorian Yoaen Artists, 55. 66. Carlyle's studio was in the Masonic Temple building, then located on the est side of Richmand Street, between King Street and Dundas Street, in London, ûntaria, see Poole, Art of London, 70. 67. "Women's Art Clubu, unidentif ied London, Ontario newspaper, c. March 1897, clipping file, n.p., WCA; and, Woman's Art hssaciation of Canada, Catalogue of Sketch Exhibition (Taronta: Woman's Art Association o+ Canada, 18931, 1. Famcomb na5 born in Newcastle, Ontario but moved to London and attended HeLlmuth Ladies College where her art instructors were either W.L. Judson or Charles Chapman, see Poole, Art of London, 68. frior ta studying with Carlyle she exhibited at London's Western Fair Art Department in the "Professional List," often winning many prizes. Her name first appears in the prize lists in 1879, and in 1896 Farncomb won first prize in the "Historical Sub ject, " "Landscape or Marine, " and "Flowers or Fruit" categories, and second prix in the "Animals +mm Life" categoPy in the "Prdessional List" a+ the Fine Arts Gepartment at the Western Fair. "The Prize List, " The London Free Press (London, Ontario) 17 Septeniber 1896, 11. 68. Cherry, Painting Woren, 102. 69. This information was taken from an interview with Albert E. Templar; see Poole, Art of London, 71. 70. farncolnb exhibited with the RCA in 1900, 1901, and 1902. Royal Canadian Academy, Royal Canadian Acadeay of Arts Catalogue 1900 (Ottawa, 1900), 11. Royal Canadian Academy, Royal Canadian Academy of Arts Catalogue 1901 (Toronto, 1901), 11. Royal Madian Academy, Rayai Canadias Academy of Arts Catalogue 1902 (Montreal, 19021, 13- She frequently exhibited in Toronto at the TIE/CNE and OSA exhibitions and was elected a merof the OSA in 1908. Also in Toronto in Nov&er of 1908, she exhibited in the Thurb-Box Exhibition lof3 Canadian Artists which included Gertrude Eleanor Spurr Cutts (1858- 19411, and Clara Sophia Hagarty (1871-1958). Thumb-Box Exhibition Lof1 Canadian Actists, (Toronto: W. Scott and Sons' Galleries, 19081, unpaginated, Artist Files, N.6.C. . 71. Bradshaw was never elerted an Associate of the RCA, see Sisler, Passionate Spirits, 280- See alsa Poole, Art of London, 72. Royal Canadian Academy (19021, 10; Royal Canadian Acadeay, Royal Canadian Academy of Arts Catalogue 1903, (Ottawa, 19031, 10; Royal Canadian Academy, Royal Canadian Academy of Arts Catalogue 1904 olloritreal, f9M), 10. 72. The +und was arganized by Harriet Priddis, "an infiuential mecnber of the CWAC3." Poole is drawino un information given by Farncomb's niece, Hrs, D. McEwen. At the Jul ian Academy, Farncomb studied under Jean-Paul Laurens ( 1838- 1921) and "Simon and Prinet," see Poole, Art of London, 68. See also, J. Russell Harper, Early Painters, 109, While it is not clear uhen Farncumb studied in Paris, Laurens headed a feeale atelier at the Julian Academy in ~~1912,see Fehrer, "Academie Juliana, 212. mile it remins undacwnented, Farncomb's family later claimed that she had exhibited a portrait of a "nude upper tom and head of a young woman" in the "Sprîng Salon" while studying in Paris, see Poole, Art of London, 68. 73. Clrtist information form for Eva Bradshaw, Clrtist Inhmation Files, National Gallery o+ Canada. The Chase Schaol, famded by William Merritt Chase, was later called the New York Schaal of Art, see Rubinstein, Aaerican Homen Artists, 123. 74. Poule, Art of London, 76. See also, Clare Bice, €va Bradshau (London, Ontario: London Regional Art Gallery, 1970), unpaginated. Domthy Betts first studied art with Caroline Farncomb, later, prior ta going to New York, Betts herself studied with Carlyle in her London studio. Encouraged by her progress under Carlyle's instruction, Betts joined Bradshaw and the two women pursued their New Yark studies together. Mrs. F.P. betts, likely Damthy Betts' mother, had been listed among the "patronesses" of London's Woman's Art Club in c.1894. Other "patronesses of the club" included "Mesdames.,.T.H. Carling, E.A. Cleghorn, James Cm Duffield, E.N. English, 6eo. Gibbons, Wm. Gfass, F. E. Leanard , Wm. McDonough. ., and T. H. Smallman." "The Woman's Art Club, Exhibition of Painting5 at the "Y" Rwms," Unidentified London newspaper, c. Spring 1894, clipping file, nop., WAACA. 75. Poole, Art of London, 76. Whatever the case, Carlyle wha had lived in New York City intermittently between about 1899 and 1912 mfd have been aware of Chase and Henri's reputatians as teachers. Rabert Henri (1865-19291, described as "one of the most dynamic figures in American art and cultur~ at the turn of the centuryn, was the leader o+ "The Eight" and a prominent member of New York's "kh Can" School. Like Carlyle, Henri studied at the Julian Academy in Paris. Between 1902 and 1909 he taught at the New York School of Art, and between 1909 and 1912 at his own school, Later still he taught at the Art Students' League. William Inn- Homer, Robert Henri and His Circle (Ithaca and London: Corne11 University Press, 19691, 157. In 1907 Henri was living at 135 East 40th Street, New York City, see Florence N. Levy, ed., American kt Annual, 1907-1908 (New York: American Art Annual, 19081, 6: 361. 76, Fehrer, "kademie Julian," 208. Quoted +mm an article in the London free Press 10 April 1913, n.p. in Pmle, Art of London, 76. 77, Royal Canadian Academy, Catalogue of the Thirty-fifth Annual Exhibition of the Royal Canadisn Academy of Arts (tluntreal , 191 3, IO. Eva Bradshaw, Caroline Farncomb, and Domthy Betts (Seeley Smith) al1 exhibited works in the Homen's Canadian Club Exhibition of the Paintings of London Rrtists, Past and Present (London, Ontario: Womm's Canadian Club, 19321, unpaginated, Curatorial File, Florence Carlyle, The Yhite Flouer, iRAWH, 78. Second Annual Yestern Ontario Exhibition (London, Qntario: Elsie Perrin Williams Mernorial Art Gallery and Museum, 1942), unpaginated. See also, The Third Rnnual Uestern Ontario Exhibition (London, Ontario: Elsie Perrin Williams horial Art Gallery and Museum, 1943, unpaginatd. 79. The LRCIGHM files have a Christmas Card depicting the Proscenium wall mural, see Poole, Art of London, 70, 220, and note 17, 80. Clare Bice, "Exhibit of Paintings by the Late Eva Bradshaw a Rich Exaaple a+ Canadian Art," unidentified Londan, Ontario newspaper, c. March 1941, n.p., Artist Files, N.G.C. 81. "Literature, Life and Art, Flarence Carlyle Exhibit," Toronto Daily Star 30 May 1925, 7. Se also "Havergal Ladies' Coflege," advertisearent in Canadian Hagazine 37 (Septeaber lW1): 20. 82. "Havergal Ladies ' Col lege" , advertisement in Toronto #ail and Empire, 1 September 1897, 1. Çee also, National bncil of Wosien, "Ladies' Colleges," in Yomen of Canada, 140. 83. "Literature, Life and Art, " (19251, 7. 84. Cherry, Painting Women, 104, 109. Se also, Appendia 5, Wamen Art Educators. 85. Çee Havergal Callege advertisements, for example, Toronto Hail and Empire, 6 Septeaber 1899, 5. That Wyly Grier was teaching art at Havergal at this time was confirmed in a letter to the author from Margaret rtioapsan, Havergal College, Toronto, 28 ktober 1994. 86. "Havergal Ladies Coflege." advertisement, Montreal Star 9 March 1901, 12. Miss Nainby held a "Çouth Kensington certificaten. National Council O+ Women, Uomen of Canada, 220. For further discussion of gender and employment in art education see also, Cherry, Painting Homen, 62. 87. Cherry, Painting Homen, 62. W. Cherry nates that exceptions did occur and that equai opportunities were extended ta wumen at "progressive institutions" such as the Glasgow Srhool of Art. Ibid., 62. 89. Halifax - H.M. Rosenberg, Principal; Montreal - William Brymner, Director; Hamil tan - S. John Ireland, Principal; Ottawa - Franklin P, Brownell, Director; Toronto - R.Y. Ellis, President, see Levy American Art hnuat, 1900-2901, (Bastan: Noyes, Pratt and Company, 19001, 3: 94, 214. See Appendix 5 Wonten Art Educators- See also, Tippett, By A Lady, 39. 90. tevy, American Art Rnnuaï, l9ûû-l9OZ, 3: 214-215. 91. It is likely that Carlyle taught briefly at the AAll school during its 1910-11 winter session. "Canadian Artist Died in England," Hontreal Star, 4 June 1923, n.p., Artist Files, Montreal Museum of Fine Arts. The lack of surviving documentation +rom the 4AH school hampers research in this area. Records are incmplete due to a +ire that destmyed part of the school's archives in the early I?4û's, letter to the author +mm Eric Vanasse, Montreal kseum of Fine Arts, 4 May 1994. See alsa, "Calendar of the Elementary and Advanced Art Classes of the Art Association of Ciantreal for the Session of 1906-07", Deligny, Armstrong, Phillips, Bentham Collection, 17=-1937, ME W-A. Phillips Papers, file M62, McCord Ifuseum, Montreal, 92. "Canadian Artist Died in England," 1923, Artist file, n-p., Montreal Museum O+ Fine Arts, This article quotes fmm a statement made by the artist in Nontreal in c.1911, the source cf wh ich iç unrecorded. 93. Cherry, Painting Women, 48, 94. Correspondence between Carlyle and Mackay exists in the Carlyle family archive. D-B.G. Fair, "The White Flower", typewritten manuscript, Artist Files, LRCIGHM. Mackay published verse, short stories, novelç, plays and +alklore, in Canada and the United States, and lived in Woodçtock until 1909. brgan, Canadian Uen and Women , 2nd ed. , 696- W. Stewart #al lace, HacUillan Dictionary of Canadian Biography (Tomnto and London: Macmillan, 19631, 461. 95. Harian HacCausland, Carlyle Christmas Woodstock, Ontario: Woodstock Public Art Gallery, 1%lI, unpaginated. me painting was subsequently exhibited at the Pennsylvania Academy of fine Arts as A Jeuess. Peter Hastings Falk, ed., The Annual Exhibition Record of the Pennsylvania Acadeay of Fine Arts, 1876-1913, (Madison, CT.: Smd View Press, 19871, 2: 125. 96. The titles of paintings dating from this trip also include, Coal Schooner Yaiting for the Tide (c. l9O), and Sketch, Cape Cod (c.1900). See Appendix 2, Exhibitions. "China Painting: Second Exhibition af the Women's Art Clubn, unidentif ied Landon, Ontario newspaper, c. March 1896, WCIC of Landon Files, n.p., London Roum Archives, Londan Public Library. See also, "The Wman's Art Club, Exhibition of Paintings at the "Y" Rooms," clipping file, n.p,, WAACA. Minhinnick owned works by Carlyle and these paintings were sold in c.1945. Mr. Millard in letter tu l'lm. Blanche Carlyle, sister-in-law of Florence Carlyle, 18 Octuber 1946, Artist Files, WPAG. 97. Carlyle's work with the Alpine Club of Canada is discussed in chapter four- 98. In 1915 Carlyle, Hastings and Helene Key volunteered to work in a "war depot" assembling medical supplies for hospitals in France. Later, they worked for several mmths serving munitions workers in a Ganteen at Clbbeywd, a village next door tu Woolwich Arsenal. Key, "Reminiscmces," 17, 18. Xn 1915 Carlyle and Hastings served as valunteer nurses at Ruehamptan Hause, a stately hwne in England, converted during the war "into me of Queen Mary's Canvalescent Auxiliary Hffipitals for soldiers.--who have lust their li&s in the war." "Roehampton House as a Hospital," Country Life, 14 Ckrgust 1915, 239, Artist Files, WPAG. W. Florence Carlyle in letter to Russell Carlyle, England, 27 October 1919, Artist Files, WAG. 100. Florence Carlyle in Ietter to Russell Carlyle, Wimbledan, England, 1 December 1921, Artist files, WAG. 101. Çee correspondence, Florence Carlyle to family members, c. l7lS-l923, Art 1st Files, Wffi. 102. Florence Carlyle in letter to Russell Carlyle. Wimbledon, England, 3 August 1920, Artist Files, WPAG, 103. Cherry, Painting #men, 67. 104. Key, "Reminiscences, " 2, 105. Carlyle nas most active in the United States between 1905 and 1909, Elected an Assuciate of the RCA in 1897, her membership lapsed during this time and she was re-elected to Assaciate status in 1912. Doyle, "firt," (23 January l8W), 9. Sisler, Passionate Spirits, 281. 106. Lifian Telfer, Curator WAG, in letter to Florence Johnston, Woodstxk, Ontaria, 24 February 1967, Artist Files, bJPA6. 107, Deacon, "Representative Woaren, " Toronto Globe, 4. See al-, Lillian Telfer in letter to Florence Johnston, 24 February 1967, Artist Files, WPAG. 108. Deacon, "Representative Women, " Toronto Globe, 4. O? Estelle H, Kerr, "The Artist," Saturday Night (Toronto) (Toronto) 26 (7 June 1913) : 29. Margaret Bell, "Women and Art in Canada," Everyiuoaan's Horld (Toronto), June 1914, 7. 110, Hwne's recollections of an earlier interview with Carlyle, see, Blanche B. Hume, "Florence Carlyle, CI. R, C. A,, " Woodstock Sentinei-Revieu (Woodstock, Ontario), 10 July 1925, 10. 1. flacBeth, "Canadian Women," 23. 11 Cherry, Painting Woren, 7. 113. The "golden ageu of illustration was so named because of rapid advances in repmgraphic techniques and the high quality of artwork reproduced in the variaus pictorial media. See, Patricia Hîlls, Turn-of-the-Century Aie~ica: Paintings, Graphics, Photographs, 1890-1910 (New York: Whitney Museum of Gmerican Art, 19771, 89. 114. Cherry, Painting Homen, 101. 115. Ibid. 116, Wornen artists working in commercial art at the turn of the century included Maud Humphrey Bogart, Violet Oakley (1874- 19611, Jessie Wilcox Smith (1863-19351, and Elizabeth Shippen Green (I871-lW). Regina Armstrong, "Repmentative American Women Illustrators: The Child Interpreters," The Critic (New York) 36 (Play 19001: 417-430. Regina Armstrong, "Representative Aaierican Women Illustrators: The Decorative Horkers," The Critic 36 (June 1900): 520-529. Rqina Armstrong, "Reprecientative CImerican Women Illustrators: The Character Worker~," The Critic 37 (Juiy 1900); 43-54, Regina Armstrong, "Representative American Women Illustratom: The Charactw Workers-II," The Critic 37 (August 19Oû): 131-141- See atm, "tlomen in the 6olden Age of Illustration," in Rubinstein, American #oren Artists, 158-163. 117. Kerr, "The Artist," 29. 118. Ibid. The advantages of a career for nomen writers in the related field of advertising writing were discussed an article appearing in the same year. See, Canadienne (pseud. 1, "The FIdvertising Profession For Women," Saturday Uight (Toronto) (22 March 1913): 29. 119. "Collected Pictures of Florence Carlyle", Toronto Hail and Empire, 23 May 1925, Artist Files, n.p., Wmdstock Public Rrt Gallery. Olaf P. Rechnitzer, "Nations Acclaim London Artists", The London Advertiser (tandon, Ontario), 17 January 1925, 1, magazine section- Shelly Lawson, "Nha Mas Florence Carlyle?", London Free Press (London, Oritariu), 28 December 1990, Artist Files, n-p., WAG- In 1899 Carlyle only exhibited in une o+ her usual venues, with the WWC, and did not exhibit with the RC4 or OSA, See Appendix 2, Exhibitions. 120. Rechnitzer, "Nations Acclairn, " 1. Carlyle's add-s in Greenwich Village 1s not known, and her permanent address c.1899-1904 is listed in the American Art Annuaf as "Woodstock, Ontario." tirnever, by 1905 her address nas listed as 7 West 42d Street, New York. Levy, American Art Annual, 1905-1906 (New York: American Art Annual, lWS), 5: 336, Her last known address in New York, in c.1912, was at 32 West 24th Street, see Morgan, Canadian ifen and Woren, 2nd ed. , 200. El. Richnitrer, "Nations Arclaim, " 1. Carlyle entered the first artist's campetition hefd by the Osborne Company of New York. Osborne Company, calendar title leaf for The Girl with the Laughing Eyes (New York: Osbam Company, c.19051, Artist Files, n-p., WPUG. 122. MacBeth, "Canadian Women," 24. 123. Osborne Company, calendar title leaf for Always Room for Une Hore (New YorK: Osborne Company, c.1967), Artist Files, n.p., WPAG, Marian MacCausland in letter to author, Woodstock, Ontario, 22 November 1993. 124. Hichnitzer, "Nations Acclaim," 1. 125. Osborne Company, Always Rom, n.p. Carlyle was mmmissioned several times ta camplete paintings for the Osborne Company's Art Calendars. Several yearr later, in the fail of 1909, Carlyle returned tu New York to execute a commission to paint six paintings for the company. She had spent the sumer in Woodstock and upon returning to New York took her cousin Helene Key to stay with her and to work as ber mode1 for these paintings. Key, "Reminiscences, " 8. 126- Richnitzer, "Nations Acrlaim," 1, Carlyle's commercial work was recognized by her cmteaiporary Canadian women artists, and Mary Dignarn described Carlyle as a "well- #nom illustrator" in 1901. National Council of Wamen, Yoaen of Canada, 222. 127- Osborne Company, "The Third Annual Artists' cornpetition", advertisement in Levy, American Art Annual, 1905- 1906, 5: 117; see also, frontispiece of Curran's painting, At the Piano. 1 Anterican Colortype Company, "Fac-simile Reproductions of krks of Art", advertisanent in Levy, American kt Annual, 1905-1906, 117. 129- Italics in original. Osborne Company, Osborne Art Calendars in Miniature (New York: Osborne Company, 19031, n. p. Brochure, Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institut ion, Washington, D. C. . 130, Lbid. Specialty cafendars had great popular appeal at this time and in 1904 an article in the Hem York Times described the calendar trends of the "season", nating that, "the gaudy, meaningless ...calendar is Cabsent]. Nearly al1 have their raison daetre...in art, fiterature and a perpetuated use+ulness." "Calendars," Uew York Times, 17 December 1904. 903, 131- The Osborne Company sent art buyers tc American exhibitions to f ind popular paintings, sui table for calenda-. For their 1901 line they attended the Pan-American Exhibition in Buffalo, and nuted in an advertisement that, "for hours, our art buyer watched the crowdç that surged aruund...the Buffalo exhibit, and he became convinced that originals which were su overwhelmingly popular with al1 sorts of people, high and lm, couldn't fail to make equally papular calendars. He was right: orders have abundantiy proved it." Regarding subject matter the company wrote, "To be profitable, a calendar must have a popular sub ject, but with the right sub ject assured.. .the better it will please "cornmon people" and al1 other people." I tal ics in original. &borne Campany, Calendars in Hiniature. n-p, ; see also, Hi1 ts, Turn-of-the-Century Aaerica, 89. 132, Key, "Reminiscences, " 8. Letter to the author +rom Florence Johnston, Woodstock, Ontario, 15 May 1994. 133. Cherry, Painting Uomen, 101. 134, Armstrong, "Representative American, Child Interpreters," 418. 135, Osborne Company, Calendars in Hiniature, n.p. 136, In The Girl with the Laughing Eyes a woman is shawn engaged in a party game, holding a large red lantern to warn off her pursuers, "the welcome of those laughing eyes..-cmtradicts the danoer sign," see Osborne Company, Girl nith the Laughing Eyes, n-p. In Al~aysRoom for One More a woman is shuwn ralling to her friends to take cover +rom the rain beneath her open usbrella, see Osborne Company, Alœays Rom, n.p, 137. Carlyl e Christmas (tloodstack, Ontario: Woodstock Public Art Gallery, 1981), n.p. 138- Kerr, "The Artist," 29. 139. Interview by author with Florence Johnston, Woodstock, Ontario, August 1993. 140. Emphasis mine. Jean Grant, "Rayal Canadian Academy Exhibition, " Saturday Might (Toronta) 2 (12 Harch 1898): 9. 141. "Review of the Art Exhibition, " Toronto Haif and Empire, 5 March 1838, 7. 142. Mary Dignam, "The Portrait Loan Exhibitionn, unidentified newpaper, c. 3 April 1849, Cuttings File, n.p., WCIACA. Çee also, ban Portrait Exhibition (Toronto: Woman's Art ksociation O+ Canada, 18991, 33. 143. "Art ists and Friends Ttimnged 6al f ery, " Hontreal Star, 21 March 1902, 10; and, Royal Canadian Academy of Arts Catalogue 1902, 10. 144. HacBeth, "Canadian Women," 24. 145. Fergus Kyle, "The Ontario Society of Artists," in Arts and Letters Club of Toronto The Year Book of Canadian Art (London: 3.M. Dent and Sons, 19131, 188, 146. Carlyle was cmmissioned by the Canadian Mar Memorials Cornmittee in c. December 1917 to paint Lady Julia D-d of Montreal, who served as the Assistant Cu~#sisrimerof the Canadian Red Cross Society during the First World Mar, and as head of the Canadian Red Cross In+omation Bureau and as President of the King George and Queen Mary, Maple Leaf Clubs. The portrait was painted while Carlyle was staying for a month with Drummand in her London, England home, in March/April a+ 1918. The War Mernorial Cornmittee paid Carlyle 3375 for this portrait and arranged with the artist to do another portrait. However nothing mare is knawn about this promised commission. Florence Carlyle in a letter tu Russell Carlyle, Sussex, England, April 1918, Artist Files, WAG. "Canadian War Memorials," Saturday Night (Toronto) 32 (26 October 1918): 17. 147. Roy Franklin Fleming, "The Royal Canadian Academy of Arts," in Rrts and Letteffi Club of Taronto The Year Book of Canadian Art (London: J.H. Dent and Sm5, 19131, 205. 148. Levy, American Art Annuai, 1903-1904 4: 170. 149. "Art Awads at Bu+falom, Men York Times (7 August 1901): 7. Honorable Mention awards went to the following Canadians, "Bell-Smith, Miss Carlyle, Gagen, Graham, Knowles, Manly, Hrs Reid, Miss Tully, and Wickson. Hugh 6. Jones, "History of the Royal Canadian Academy of Arts", fS, (1934): 5.8, Carleton University library collection, Ottawa. 150. See 4ppendix 2, Exhibitions. Rochester Art Club, 19021, 9. The SA4 was fwnded in 1677 and in 1904 held their 26th annüal exhibition. "New York Letter," Saturday Night (Tomto), 1 April 1905, 8. 151. "New York Letter,* 8; and, *The EImerican Artists," He# York Tires, 26 March 1904, 9. mile Muntz exhibited Little #iss Shy, no information is presently avaifable regarding Carlyle's contributions to this exhibition other than the knowledge that she did exhibit at least one painting. *The Clmerican Artists," Uerr York Times, 28 &ri1 1904, 8. 152. The SCIA and the Art Students' League are described as the two American institutions that "broke the strangle hold of the old-guard National Academy of Design", wtrich wanted to supress neu artists. The SCIA hdd their last exhibition in 1905 and mergeû back into the National kademy in 1906. Rubinstein, herican Woien Artists, 14û-141. See also, Morris, Art in Canada: The Eatly Years, 31. 153. Laura Muntz was also awarded a bronze medal, Jones, "History of the RCA," 5.10, 154. Carlyle exhibited with the PRFA in 1904, 1905, and 1906. However she maintaineci her professional links with Canada by continuing to exhibit wi th the RCA, and the CNE Art hpartment. See Appendix 2, Exhibitions. 155. MacBeth, "Canadian Womwr," 24. 156. Cherry, Painting Homen, 101. 1 Ibid., 98. 158. MacBeth, 'Canadian bkmen, " 24. 159. Knoedler's Galleries, Exhibition of Paintings by Women Artists (New York: lW8), 4, Knoedler and Company, N.Y., Library Archives, 160. See 1909 in Appendix 2, Exhibitions. Benezit, Dictionnaire critique, 531; and, Levy, "Auction Sales of Paintingsu, in American Art Annual, 1907-1908, 6: 17-18. Thomas Jenkins, of the Jenkinç' Galleries on Coliege Street, was Carlyle's Torunto dealer, see Newton Hacfavish, Ars Lonqa (Toronto: Ontaria pubiishing Co., l938), 109, Mr O. B. Graves was her dealer in London, Ontario, see, Florence Carlyle in letter ta O.B. Graves, Toronto, 6 December 1922, Artist Files, LRAGHM . 161. Kerr, "The Artist," 29. 162. Ibid. 163. Italics in original. Florence Carlyle in letter ta 0,b. Graves, Tot-onto, 6 December 1922, Artist Files, LRAGHM. 164. MacBeth writes that "Miss Carlyle nas called home ta Woodstock owing to [thel illness of a member af her family, and there she lived." MacBeth, "Canadian Women," 24. Carlyle's father died in 1912, and her mother, who had "Csuffered3 for same time from a form of paralysis", died in 1913. "Mrs. W. Carlyle: Passing of a Woman Who Had Not Lived In Vain", Uoodstock Daily Sentinef-Revie#, (Woodstock, Ontario), c. December 1913, Artiçt Files, n.p., WPM. 165. CHE Catalogue, 1913, 95. 166. Ibid. CHAPTER FOUR FIGURES UNOER TREES: PICTURING WOMEN AND IMfiGING LANDSCAPE Carlyle garnered critical acclaim and wide public exposure as a "painter of figures", portraits and "character studies". Although Carlyle produced and exhibi ted landscapes and still liSe paintings, figure paintings far outnumber any other genre in her. exhibited works. Significantly, studies of women comprise the overwhelming majority of Carlyle's oeuvre with onfy a +ew works representing male figures-" I wilL argue that theie depictions O+ women and domestic subjects break with hegernonic visual representations a+ femininity and show a speci+ic and novel Sacus an expanded images O+ +emininity, In this chapter 1 will demanstrate that Carlyle's fisurative wark must Se considered in the context O+ how she came to focus her art on the diverse social terrains O+ women, The artist's independent spirit and her own expanded social terrain as a waman is demonsirated by a consideration a+ her* landscapes and the context in which they were executed. Art hiçtorian Deborah Cherry ha5 argued that the "established tradition of fpaintingl Sy professional male artists" was substantiafly changed by wamen artists whose "studies of modern domestic episodes" like those O+ Carlyle, &y shifting "class Iacations" and reworking "pictorial convent ions, Throughuut the nineteenth century social expectations were an important consideration +or women artists in thoasing subject matter, Acceptable subjects for women, in bath public exhibition and commercial contexts, included domestic pictures, portraiture, and historical Pressures uere subtly exerted on uamen to pmduce damestic pictures, and critical censorship of certain subjects as unsuitable, indecorais or over-aabitious 'for a lady* could influence a wmen artistes Cchoice of sub ject aatterla4 Thus, dornestic subject matter when painted by women artists were not simply "expressions a+ essential femi~inityor innate materna1 instincts", as advocated by con temparary at-C practice, but equally importantly "products of complex social farces wh ich desionated them appropriate- The lives O+ women artists' o+ten dif+ered pra-foundly +rom conventional depictions O+ domestic femininity. This is especially true ci+ those who, like Carlyle, did not marry, and whose professional career spanned a period O+ significant change in women's rights. Such positioning often gave çuch women a unique perspective +rom which ta participate in the redef inition O+ femininity in visual culture. 4s Cherry observes, women art ists necessarily held contradictory relatianships to middle- class construct iuns of feminini ty-they did not spend al1 their time on household duties or child care... their lives did not aiatch the patterns of domesticity,. ,.& As the eldest daughter, Carlyle experienced conventional domestic duties prior ta leaving home for Paris at the age O# twenty-six. Hawever, on returning to Canada, she expressed a pre#erence for a "Bohemian way of living," maintaining a studia in New York City +or many years, where "there were no rules to go by,.l.Cand she couldl enjoy the +regdom o+ doing some painting without any restrictions +rom any sourcelN7 Despite Carlyle's f requently unconventional l ifestyle she rnaintained strcmg ties with her home in Woodstock, with family, and a close network of female +riendships. Thus the sub ject of the domestir sphere as a recurring and signif icant theme in her work is, as Cherry observes, a site nhere nomen artists negotiated and contested what it meant to be a worsan, and a uoman at home, in middle- class society. Carlyle's paintings of women address the formatians and transitions of femininity and, in doing 50, dten contest hegemunic de+initions of #emininity- Her paintings of women recognize the importance O+ women 's domestic life and networks of rituals and pfeasures, and +oreground the strength and support of wornen's friendships. Carlyle's +ocus an ferninine social terrain is founa most clearly in het- / su5 jerts af materni te, courtship, mat-riage, desire and sexuality. Canventionai images cf wcmen and femininity are recast in many o+ Carlyle's painting5 tu highlisht women in r-cïes of strength as working women, and as alder women, DOMESTIC NETWORKS OF RITUALS AND PLEASURES: Carl~yle'spaintings of wamen in the domestic context address the formations and transitions O+ femininity and explore diverse images of women. Cherry observes that women artists, such as Carlyie, brought a particular and novel +ocus to many a+ their paintiogs a+ women in the domestic sphere, She asserts that such paintings "marked out the spaces and t-ituals O+ women's friend&ipsw7 and that the works by wornen di++ered "profuundly" +rom the "repertary cf simpering beauties" by male cofleaguesW- In their paintings o-f women in the domestic sphere, women artists created images that were apposi t ional ta those painted by male artists, Paintings by women artists "wrenched woman's image away +rom the circuits a+ masculine desire" and recast images O+ women in the "exchanges and meaning of women's network5, rituals, and pleas~res,"~ Many of the subjects addressed by Carlyle in theçe paintings, for example, women reading, writing, sewing, playing the piano, were, in other hands, conventionaf and hegemonic images of fernininity, However, Carlyle reworks these pictarial conv~ntions, foregrounding the diversi ty OS women's roles and activities, highlighting the spaces and rituals of the domestic sphere, and the support of women's f riendships. The theme O+ women reading in domeçtic interiors or garden settings was popular among nineteenth century women artists and highlights women's mental activity, In the generation just ri or to Carlyle's, women artists such as Marie Bracquemond in her painting Tea Tire (18801, show women with a sel+-contained focus of inteliectual concentrati~n.~~ (Fig. 4, 1) Such images invite comparison not with traditional t-epresentations o+ women, but rather with partraits O+ male intellectuals, for example those O+ eighteenth century Carlyle clearly associated the image o+ a woman reading with a wornan's intellectuaf li-fe. In a publicity photograph taken in 1912, Carlyle herselt is shown reading a book. (Fig. 4-21 Carlyle's in+armal partrait o-f a girl reading, Blanche (cl9il), identi+ied as a portrait o+ a +amily #riend blanche Hunter, 1 ike Cassatt's Young Girl Reading of 187A, depicts the subject intently -facused on her book, Elanche sits before a windaw in a relaxed, informal posture, seemingly unaware a+ being observed or O+ activity in the room abaut her. In Surrer Horning (clW3) Carlyle presents two women. likely the artist's sisters, enjoying quiet companionship, one reads while the other sews. (Fig. 3.6) The sübtle interaction between the twû women and the high i Fghting of their faces and hands, +oregrounds the strength o+ wamen's friendships, This theme is also depicted in Two Sisters (Z€379),by Carlyle's Gmerican contemporary Susan Macdoweff Eakins (i85i-l?38), Carlyle, like Eakins and many wumen artists, preferred +amify members as rn~dels.~~ ECarlyle3 useâ...few professimal iaodels, preferring to choose., .frm anong her rouapanions with whom she ws on terms of intimacy." and thus the intimacy o-f her own relationship with her sisteps enriches this study of +etnale friendships. The sub ject of- a single +emale figure reading and writing in an interior setting would be repeated throughaut her career- In another painting O+ her sister, #aude Writing a Letter (ci9001 the artist captures the ~estureof a woman rnornentarily distracted +rom her writing. In Grey and Gold (~1910)Carlyle +ocuses on a woman's absorption in reading the materiaf çpread be+are her on the table- (Fig, 1.4) The intensity O+ the ~ckman'scancentratian is expressed in her posture as she leans +orward, resting her arms on the papeYs. l4 Çcenes showing wamen reading out O+ doors accu? les5 frequently. One example, which remains unlocated, is the painting entitled A Book of Verse Beneath the Bough (ci9lO), which is described by contemporary criticr as a "study O+ a grace+ul woman çitting under leafy branches with a book in her lap. While the precise location o+ the reader, whether in a park or in the private sphere O* the domestic garden, remains unknown, Carlyle was c learly concerned wi th locating women in an outdcmr setting, and with painting the natural landscape. This suggeçticn is supported by the titLes c+ several other paintings by Carlyle, inciuding Landscape Study with Figure (n. d. ) , Figures Under Trees (n. dl 1, and Surmer in-d. ) described by contemporary cri tic Hector Charleswarth as "showing a wornan under trees, . . listening to bit-d-sons- The. - .pattern of sunlight and shadûw. .. make i t a remarkab le work. " sL Carlyle's paintings of women often +ocus on the importance O+ supportive fernaLe +riendships and kinship networks, The title o+ Carlyle's painting, Reading to Hother (~18981,suggests a concern with highlighting the strength and support o+ wamen 's intergenerational networks, and foregrounds the issue of female responsibility in physical care af family members, In Two bioren on a Balcony, Yenice (cl9lS), originally exhibited as The Guest, Venice, Carlyle again captures an image of women's shared spaces and pieasures- (Fis, 4.5) Inspired by hev trir to Italy with her friend 3udith Hastings, the re:axed intimacy between the two women is sugg~stedby their placement, physically cut O++ fram the raum by the table and window #rame, while the viewer is excluded by the pfacement O-# the seated wamen'ç arm. Their intimacy is expressed by their open gestures and their conjoined ga,7es- The accomplishment a+ playing the piano was in keeping ai th midd le-clas5 constructions o+ +emiriinity. During the nineteenth century, paintings depicting women at the piano o#ten seemed to support thiç view. In contrast to images O+ well ordered madels of damestic +ernininity as seen in Harmony it i885), by her Canadian cgn tempaiary Robert Sarris, Csrlyle's many paintinss of wonen at the piano r-ecast this theme into one whi~hexpresses a woman's private ~leasureand tticughts. CF; -3. 4.61 The juxtapositian O+ 5iarris' modestiy dressed, nisci~lin~dsianist, with Cat-lyle's pianist in Thoughts (~i902:reinforces Car1yle's reshaping of this conventiûnaf site a+ domestic femininity- (Fig. 4.7) As suggest~din the respective title, Harris' pianist is seen in a state O+ harmony with her surroundings, contorming to conventional de-finitions ai appropriate +erninine behavior, The title of Carlyle's painting provides a point o+ entry ta the wark in which a woman is shown seated be+ore the open keys of the pianc, but she does not play the instrument, By contrast with Harris's painting, this woman is not presented as a performer or spectacle. Instead, her closed eyes and çtate o+ déshabillé clearly suggent the piano and by inplication music as a site O+ a woman's private rneditations, In An Awakened Chord f19i4) Carlyle once again establishes the link between women, music, and sensuality. (Fis, 2.2) Although the contemparary cri tics proiessed "amazement" at the ski1 1 with which the red "velvet +aSt-ic ot the gawn is depict~d," the reaf amazement may have been trigget-ed Sy the sensuality O+ the image as seen in the play a+ light on the gown and by the viewers' position in relation to the woman8s d&~clleta~e.*~While Carlyle shiftr to a les= controversial image O+ women playi~gmusic in ber paintings, A Pleasant Hour (cl9001 and Spring Song (iTi2). she continues ta recasi this traditianaliy conventional theme. (Fis~t-es 2.S and 3-61 Car-lyle's paintings o+ women at the piana e:ipl~~ea space within the domestic network which Carlyle recognized as assaciatsd with wornen's pieasure and sel+ expression. IMAGING MOTHERS AND CHILDREN Painted images O+ wornen and children were elevated to a high level O+ çigni#icance by the Impressionist cefebration uf contemporary everyday life- In particular, the portrayal of family life +ormed an important element in the icunogt-aphy O+ many women Impreçsianists. Conventional images of / aatern it~,which wet-e c-ften monumental ized in the nineteenth cen tutsy as the ' Modern Yadonna ' , ûccur in+t-equen t 1 y in Carlyie'z ceuvt-e.iq Her painting5 o-f mothers and children are not expressions of essential +emininity or innate maternai instinct, but were instead, explorations o+ warnen's experiences within the damestic context. The artist focused attention on themes such as the process of the construction O+ +emininity in fernale childr-en, the relationship between notners and daughters, and on the intersenerational connections between women of all ages. f One of the most conventional treatments of the naternite theme by Carlyle is her Hother and ChiLd O-f 1910. (Fig- 4.8) This exploration of a mother's intense absorption in her relationship with the child iç related to broader sacial de+ in1 tions of wornan as ' Modern Madonna. ' Such images trznscended ciass barrier-s.=O Not surpriçingly, constructions of f emininity which +acused an motherhood a5 the highest attainment for a waman, dominated its critical t-ec~ption. In 1911 one critic wrcte, It is a modern tladonna, whose calm serene young face with...maternal love ~ustdawning in her eyes, that tells the story O+ woaan's cmof nonianhaod non,21 The success O+ Carlyle's "treatment o+ a much-used theme" appears to be linked, as contemporary critics abserved, ta the play a+ "warm Cglowingf,.,firelight" on the +igures, and oy the form o+ the two figures which merge and seem indistinct +rom one another=== Hother and Child returns tu the conventional association O+ women and children, yet in this painting Carlyle brings a sympathetic and incisive eye to bear an the daily gestures and rituals O+ women in the private sphere. Carlyle's depiction a+ a mather and child in Shadow and Sunlight (cl9101 in which "a woman sits in the chequered and luminous shade and watches a child ai play," alti-mugh now last ta u5, i~ another example o+ the artist imagins aspects of everyday li+e within the private and ronventionally feminine space O+ the damestic sphere. Critics at the OSA exhibitian of 1910 compared it favorably to Helen McNichol Z 's Zn a Surrey Orchard ~r1?20),descr-ibcld as "a cornpanion piece ci+ simi lar char-acter" to Carlyle's painting, Carlyle's concern with supportiv~kinship relations between generations of women can be support& by contemporary descriptions of the naw lost works, Portrait Group ici917) which presented "a mother embracins a little girl", and Confidences !n.d.l whirh depicted "two +igureç...tne red- haired girl bending her head on the shoulder of the grandmother who looks straight out at tthe viewer3..,as she listen~."~~In The Vaughter (~1916)Carlyle continues to explore femafe intergeneratiunal relationships, (Fig- 4- 91 Interdependence and security are conveyed by tne binding gestures o# the mother and daughter's hands and by the compositional structure o+ interlocking +igures enclosed by the vertiral of the shutte~.~~ In a work paînted late in her rareer, the artist dirertly con+ronts issues relating ta the construction o+ +emininity in +male children. At the Hirror (~1919)shows us a nude pre-adalescent female standing in +ront O+ a mirrored dressing table, {Fig. 4-10] Here Carlyle creates a polarity between innacent +reedom and conventional arti+ice. A second Layer o+ meaning is suggested by the mirror, traditianally associated with vanity and narcissistic contemplation. Art historian Griselda Pollock notes the impartance OS the mirror image, "to the female child, whose notion of sel+ in our society is much more narcissisticzlly related to how she,,.is seen. "=6 Here the artirt depicts the child's growing awareness o+ her sense of self-identity as she gazes at her own re+lection and emulates the daily rituaf of women at their toilette. The site o+ the painting, the private or domestic interi~r-, ünderlines the gendered separation o+ spheres, In piaring a pre-adclescent +emale befare a dt-essing table, the artist articulates issues surrounding the social construction cf Semininity and comments ironically on the notion û+ woman as spectacle. Flot-enre Carlyle wai not rnarried, nor was she ever a mcther, yet her images O+ mothers and children express a rigorous and authent ic observation a+ these ref atianships and identities, and +orm an integral part of her exploration of the experiences of wamen in domestic li+e. IMAGES OF COURTSHIP AND MARRIfiGE Among al1 ehe images o+ "womanhood" popular with Victorian and Edwardian society, that of the fernale role in caurtship was perhaps the most commun. The permufations of amoraus invdvements ranged from sentimental depictions 05 Zavesirkness, ta heart-rending movality scenes warning against romantic excesses. Carlyle's painting5 O+ this subject o+ten break with dominant presentations to articulate women's experience of and participation in the çocial rituals of courtship. Courtshîp etiquette O+ the time defined ruies of decorum, and was " intended ta protect yaung women f rom unseemly advances and to apprise both parties of their meticulousfy presct-ibed roles. "17 Rejection of the rules by women merited ostracisrn and the threat of being branded "unladylike" or "+ast and ioose." In an era which prized expressions a+ ferninine passivity, "the blush...the half-smile ... CandJ iowered eyelids, " the worst that a waman coufd be branded, short O+ prostitution, was as a flirt? or Several of Carlyle's paintings directly challenge tne conventional image of women in courtship roles as delicate, passive, and chaste. The fan kmctioned as an "Eindice3 of f lirtation and cornpetition whase use in captivating or discouraging a suitor was discussed in nurnerous etiquette rnanual~."=~Al ice Walker's use O+ the +an to signi+y accepted conventions of femin ini ty and thus rein+orce a structuring of mascul ine desire in her painting Uounded Feelings Ci8611 is a case in point, (Fig. 4.11) Here a distant couple are engaged in a f f ir-tatious exchange. The woman's gesture, as she hoLds a +an to her +ace and laoks at her male admirer, may De seen as an expression of both restrained shyness and open sexual +2 irtation, Cherry observes of this interaction that, Within a phallic econway of desire she is successful thmugh carefully learned strategies. Although this form of flirtatious femininity uas viewed in soaie middle class circles as vulgar, it was.,-practised by women forced into the circuits of exchange. Carlyle's awareness of these issues Zan b~ seen in The Little Flirt (~19091.(Fig, 4-12) Her cousin Hefene Key posed -for the role of fernale coquette, replete witn conventional signs u+ femininity, including DOW and fan, Carlyle, however, subverts the conventional formuia by the made1 '5 expression of open impertinence in l ieu O+ the more conventionai and characteristic mask of shy modesty. The madd's gare is clearly meant tc engage the viewer di~ectly and thus suggests the woman's position of c~ntt-01 in the exchange, Simi larLy in Badinage (I9OS; the woman 's gestut-e, upraised arms, and unsel+ccnscious teasinq glance directly engage the viewer, and combine ta present the image of a vigoraus and self confident womanDs1 CFig. 4.13) The impact o+ Badinage on male viewers is documented in a contemporary "Social and Personal" column repmrting the events of the exhibition's opening night. Among the antedotes reiated Sy the writer it was noted that, Hiss Carlyle's picture of a laughing girl was receiving favorable notice froei sume of the men of the National Club, uhich institution each year purchases a picture fron the e~hibition.~~ Significantly, the critics, perhaps perceiving a certain impropriety in the subject matter, pointedfy ignored the painting in their review of the exhibition, focusing instead on Carlyle's painting Amen (ci%3), which depitted the mare conventi~nalsubject matter of a church interior with +igures bowed in .rayer amid an "atmosphere a+ reverence- "== Carlyle's calendar painting Sea Breezes tr1908i may be related ta these images a+ a woman engaging the viewer in a direct f lirtatious glance, (Fig. 3, Il) Here, however. the fan has been replaced by her black veil as an "indice cif flirtation." In contrast to conternporary images O+ "seaside girls" in "cheesecake pases" (f ig. 4.141, whirh were popular in commercial art ai the time, Carlyie's Sea Breezes depicts an image of the "New W~rnan."~~Heal thy and athletic, dressed in unostentaticus clothes, and about to strall the windy deck o+ a ship, Carlyle presents an image O+ woman as strong, active, and self con+ ident. In one of her best known anci critically acclaimed works, The Tiff (ciWZ), Carlyle articulates the relations of power in heterosexual courtship- (Fig. 1.5) Her image o+ "two tempersome Young #olks turninq their backs on one another" became "'the' picture" o-f the OSA exhibition o+ 1902,- The subject, the moment following "a 'lovers' quarref," focuseç directly on the woman's experience, with the male figure merely included as a sign within the "indistinct background, Indeed, the ananymous back view O+ the male +igure emphasises the immediacy of the female +igure and her proximity to the viewer- One critic observed "the expression on the girl's face tells the story," while others praised Carlyle for "a po~ticirnaginati~n."~~ Great emphasis v~asplaced on descriptions of the woman's attire and hair, thus +oregrounding traditional deSinitions o+ +emininity: The girl is garbed in the f lowered gom of our grandmothers' time, the hair is drawn dm...the delicate face is ~hadoued-..~~ Despite the outward signs a+ conventional +emininity, such as a pink rose tucked in her hair, a glimpse of a red petticoat, the female subject impatiently taps her +inger on the tablet~p,as she Iuunges in her chair, showing an "unladylike" disregard +or preçentation, Thus, Carlyle, through her depict ion a+ the woman 's posture and ~estures subtly introduies a note of subversion to the conventional repr-esentat ions o-f gender t-oles. Carlyle's Laughing, #l irtatious woman in Badinage !+ig. 4.13) cantrasts sharply with ber depiction O+ a inward +ocus& wornan, with head bowed in The ThreshoId (~19121, (Fig, 25-71 Described by one contemporary critic as "a bride in pensive cmttempfaticm as she pauses mornentarily before going ta the ceremany that means su much for her future," Carlyle's wûrk confrasts with contemparary images o+ brida1 preparations and weddings which reaf+irmed the conventiunal notion that, for a woman, rnarriage represented the uf tirnate +ul-fillrnent a+ her purpose-=- While upon initiai examinatian The Threshold appears ta depict yet another cloying and cfiched scene of nuptuai imagery, on closer study it may be seen that Carlyle introcluces a note o+ discord into the conventional theme, Çignificantly this was voiced by a ananymous comtemporary social çmlumnist, This is a painting of a bride arrayed for the wedding. She is standing in pensive thought, apparently strugglinq with many conflicting emoti~ns.*~ Clearly Carlyle meant to evake a wuman's moment of doubt ancl uncertainty just prior to entering into ma~riage. A threshuld traditionally marks an area o-f transition, and r-epresents "a sacred lirnit" in Western folkl~re.~' However, here the threshold is not merely a physical lirnit, but is in faci an inner point O+ transition in which she reexaminer her commîtment to the event. Thus, in The ThreshoId Carlyle subtly subverts the conventional image o+ a bride on her marriage day, introducing in the woman's response a note of uncertainty, CaRLYLE'S PAINTfNGS OF OLDER WOMEN Carlyle's paintings of older, working-class women contested hegemanic definitians O# femininity and explcred alternate images of femininity. During the 1890s, two out of the three paintings exhibited by the then student Carlyle at the Paris Salons o+ 1893 and 1894 depicted older, working class women.4= These, and several other works7 were directly inspired Sy ccatact with peaiants in the French country~ide.~~Art students frequently coniinued their work in the French countryside when the Academy semester ended, and Carfyie speni çeveral summers sketching and painting en plein air in the Barbizon forest area and in brittax~y.~~ At her f irst school in Paris she began her studies with the "academic" paintar William-Adalph Bouguereau: however, Carlyle was more attr-arted to the realist style of the Bzrbizon scitool, Nany of her Canadian and American cûntemporarîes in Paris were alço under the in+luence o+ the Earkizan painterr. Sidney Strickland Tuiiy, Laura Muntz, Helen E~owLton, and Ceci lia Beaux, al1 eaperimented with peasant sub jects and the e+fects of outdoar 1 i3ht. 4s Thus. while she was a part o+ a large? grcup o+ artists =::~ioriny peasant themes, CarlyleJ-spaictings in particular +orest-ounded images u+ c ide:-- wmrk ing wornen, Za~iy-lo'spainting, La vieiIIe victorine (cle94i , was f 6&,eiy 1-. begur; ir( Normandy durin5 the summer of 1853, (fis. 3.31 Ccllowing the custsm, the artist walked frcm bouse to house and asked permission ta sketch the inhabi tants. Carlyle was hocsed in the home O+ Mere Adele, a woman wha hau in her youth, been one ai the models for- MiIf et's Angelus (18593, une of the mast widely reproduced paintings of the nineteenth centuryg4' As Carlyle later "worked up" the sketches she had done during the day, ère Adele would talk to her, "telling O+ the days when she stood in a potatm field for Monsieur Mi 1 let - "47 ère Adele's old friend, Victorine' modeled +or La vieille victorine- The artist recounted, Victorine, posed for me, peering out +rom an odd pointed hood, as she grasped a big blue gamp between her knees. She rested her chin in the top of her hand and scrutinized me nith a touch of the balefulg4* Exhibited in the Salon of the ~ociétédes Artistes Francais in Paris the spring of iB94, La vieille victorine was considered a strong and ei+ective character study and Franch critics praised the paintingg4- In seiecting m~delswha were aider women and by emphasising age in ber titles, Carlyle presented images af femininity that stand as oppoçitional -~pt-esentations to ideal construction= ci iemininity. A painting by h~r#riend Pa~lPeel, Cottage fnterior il8a2), is a case in point- (Fig. 4-15) In this work an idealized image O+ a young pêasant wmman is dfered up as a subject for a masculine desiring gaze- In marked contrast, Carlyle's paintinss of older, wot-king-class women rendet- the sitters visible zs exampf es of diverse images of women znd contested hegemonic de+initions cf fernininity- For example, Carlyle's paintings, Seated Lady (~iS90).Une dame ho1 landaise (cl893i, Old Homan In A Doorway (~.d.) , and Spinning Woren (cl8971 al l establish Carlyle's interest in imaging the alder woman with realism and dignity. (Figure 2-4 and figures 4.16 - 4-18] Furthermore, in La vieille victorine (cl8941 Carlyle has emphasised the madd's f arce+ul ?ersonal ity and sel+ con+ idence, cornrnuniçated to the viewer Dy her direct gaze. (Fis- 3.5) in 1897. when Carlylens painting ère Adele was shown to the Canadian public at the Maman's Art Association o+ Canada exhibition, one contemporary review recagnired the pawer-ful alternative de+inition of Seminine identi ty, An elderly peasant naman sitting against her cottage nall in the open air, staaped shoulders, uork-worn hands, sober camrought face, peasant dress and long blue-apron-a homely figure, yet intense in its wmanly appeal.. In each O# the aforementioned paintings, altier women are depicted in a way that was the antithesis g+ the ferninine ideal at the time. In their clothing. hair, skin, age and clars, Carlyle explored an zltersative representation o+ #emininity? contesting contemporary hegemonic definitions o+ that ideal. A review of Une dame hollandaise (fig- 2-41 pubfished in Paris in 1893 applauds Carlyle's nan- idealization a+ "sa vieille feazee", which the reviewer compared to the wot-k of Leon Bonnat, &ose portraits wet-e noted for theit- alm~stphotographie realiçm- 0$ Carlyle's work the ieviewer noted ",,,sa note personnelle et :frsie,-.1' ,s 1L With her painting5 G+ older, working-class wamen, Car-lyfe begins a pattern, continued later in her professional life, a+ making visible diverse images of women, crosring barriers of age and class, and expanding deSinition5 o+ +eminine identi ty. WORKING WOMEN Despite the prevalence of leisure and recreational subjerts Carlyle o+ten depicted +ernale Labour in 50th the domestic and in pub1 ic pro+essianal spheres. Cherry observes that the private/domestic sphere o#fere~ a site +o. refationships between classes of women, "midle- class wonen had close relationships with women servants: the ' +eninine ' space of home was created by women and made Sy their And nany ninet~entncentury women artists, such as Eertne Morisot, made wamen servants and their activities the subject of their art.s3 Carlyle drew her female mode15 +rom a range oi sources. Çûme were paid domestic help ai the Carlyle tanify home Englewood, in Waadstock, with an equal number frcrn iamily or frienbs. And all thase wcmen, her yûunger sisters, the art kt herself, ber f riend/cornpanion, Judith Hastings, r-ijularly perfo~medhousehold tasks. Thus there is an ictimate connectian between her iife as a woman in a hausehold and the subjects a+ her representation, In addition to making their work and activities visible, in her paintings of women's domestic labour, Carlyle +oregrounds the women's dignity and presence. In these paintings women engaged in househoid work are presented as a seriaus subject and the subjects, regardless of their social claçs, are not ridiculed, nor are they presented as objects of a "masculine desiring zaze. "54 Carlyle's paintings o+ women per+orming domestic work do not present idealized representatians of femininity--neat, ciean and orderly. In cantrast to hegemanic deSinitions, Carlyle's women workers f requently appear disorderiy, unkempf, and show the effects of their physical exertian, These images authentically celebrate wornen's physical str~ngthand endurance as thzy pet-Sorm demandino and repet i t ious tasks- In March of iB97, Carlyle's Spinning Uoran (c18?7j, ana seven other ~aintingsby women artirts, were the ob ject O+ press ridicuie- (Fig. 4-18) The paintings, shown in the i4AAC exhibitior, at Robert's Art Gallery in Toronto, were lampooned io a cartoon entitled "Impr-essians--Maman's Art Exhibit. "ss (Fig. 4.191 The cartoon, which was prominently dispiayed an the iront page of the curr-ent Saturday Night, maintained tne correct tities cf the paintings, but invented new, and entirefy f ictional subject matter.=& Carlyle's Spfnninq Wontan, which actually depicted an older wamsn working at a spinning wheel, was reinvented in the cartoon as a parody a+ the "New Wornan, " showing a woman wearing a "trousered costume," and furimusly pedalling a bicycle. The New Waman was often depicted in the visual imagery of the tirne, as engag in9 in emancipateu and icanoclaçtic actions--as an intellectual, an athiete, or as a "bicycling fiend. "57 The burlesque derision of the paintings was evidentiy judged ta be a clever witticism which played upon the suppoçed dullness of the original subject matter, The whole is indicative O+ a tack o+ respect +or women artists in general, and specifically, in the case of Spinning bioran, implies a devaluin9 a+ the subject matter o+ domestic ~ork.~~ In another example painted early in the artist's career, Honday Hornzng (~18981,Carlyle depicts a woman in a household yard with lines of washing behind her. fFig- 4.203 Scenes a+ the washing/drying O+ Laundry can be speci-fically associated with Carlyle's family home in Woodstock. Critic James Mavor, indicating his devaluation of the subject matter pointedly ignores any mention of the woman's work, and is concerned onLy with noting the artist'ç technical success as seen in het- "bold use O+ white in the clothes hanging upon the line, the fatness o+ the calour thraughout, the excellent distribution O+ the colmur masses and the breezy energy vibrating through C the painting7. "s9 Washerwoman (n.d.) continues Carlyle's exploration of the laundress subject. As in the previous example, the woman in Washerwoman is depicted with dignity and presence, although +Lushed and pet-sp i ring +rom her exert ion , she exüdes strength and self con+ idence. In Garden at Englewood (cl9001 Carlyle's sister Maude is shown hanging laundry on a Zine, amid the f lawers in the yard of the +'arnily home. (Fig. 3-51 While depicting a woman performing a conventional domestic task! the signi+icance of Carlyle's interpretation of the broader theme of a woman within nature in a garden setting, becames clear when cornpareci to The Drone (18991 by her contemporary Arthur Hacker (I858-i9L3) (Fig, 4,311 In the wordç of one contemporary commentator, Hacker's image contrasts the, honey-loving and huney-gathering bee, the mrker and the nm-worker, the industrious and the idle. A large drwie.. .has caught the notice of the.. .lady, herself an idler. Harker's negative image of an idie, passive and Beauti+ui waman reinfurces contemporary hegemonic de+initions of +emininity. By contrast Carlyle's ~aintingdepicts an actlve woman warking out ûf doors in an unselfcanscious manner, surrounded by the sun+lawers and hallyhocks a+ a +amily garden, in a lifegiving, positive space o+ utility and beauty. Her hair and clothing are in a simple, practiral style, in contrast tu Hüïker's image of %he woman in The Drone, in which th= woman is presented as an ob~ectO+ a masculine desiring gaze, and, uf t imateiy, of rnascui ine scorn. Carlyie was afso cancerned witn expfaring images O+ wamen working in public, professional raies. For her painting of a Rea Crass nurse, A Cal1 to Service ic19181, completed düring the First World War, the artist mait iikely drew upon her persona1 experience o+ nursino wounded soldiers. Although the pr-esent location o+ the painting is unknown, a contemporary critic described the work as "Eexpressingl dignity of sentiment".L= In 1918 Carlyle was commissioned by the Canadian War Mernorials Cornmittee to paint a portrait of Lady Julia Drummond, (Fig. 3-12) Although not commissioned as off iriaf war artists, women were commissioned for specific works, and in par-ticular, women artists wet-e selected tu record the contributions o+ other women to the war effort.'= Lady Drummond was described in an article published in Canada in 1919, entitled "Canadian Women Mar Workers Overseas", as the "much-loved leader" of the "+?ont rank of women war workers in Canada-. ,those açsaciaied wi th the Canadian Red Cross Society."64 Warking in London, Enyland, Drummond served as the Assistant Commissioner of the Society tht-aughout the First World War, and her "unremitting" e-+forts were especially devoted to the ïn+crmation Department regarding Prisoners of Mar and the Mis~ing,~~Carlyle lived with Julia Orummond for one month in order to paint the portrait. Drummond 's busy schedule allmwed Little time +or sittings and Carlyle oft~nworked while ber mode1 continued dictating let ter^.^' In the portrait, Carlyle has captured the impression of barely contained activity in Drummond's hanas, whiie her "gown of black, with wrap ai dari:: crimson," evokes a dignifiea prcsence. Drummond's wark and ~ositionis suggestd by the red pappies, a symbol a+ remembrance, in the lejt background. Her high pro+essional status is confit-med by the medal o+ the Lady of Grace of the Order o# St. John of Jerusalem, which she wears an her left shuuldet. Carlyle has painted the insignia, a white enamelled Maltese cross with silver lions between the arms, in great detail, thus highlighting ~rurnmu~d'so+fizial statuslb7 In her portrait O+ Julia Drummand, Carlyle has suggested the presence O+ a woman of strength and determination, presenting an image O+ her engaged in work a+ high responsibility within an internat ional public sphere, In her many paintings which focus on women warking in both the domestic and public spheres, at traditionai work and at nontraditional prdession5, Carlyle expiores and celebrates women in positive images foregrounding their physical strength and endurante, These painting5 hi~hlioht the dignity a+ women engaged in domestic iajar and make these activities visible in seriaus images- Whether she depict~a woman hanging Laundry, or a woman. such as Lady Drummond, in a high a++icial gavernment position, the artist explores diverse images a+ wûmen at work, which cross barriers of ape, class an2 social convention, ROAD THROUGH THE FIELDS: LANDSCAPES ben's look was regulated as much in relation to space as to the gendered body. From the mid-century, there were profound debates over lmdscape as a site and sight for wumen. Discussions focused on the pmpriety of wouten painting out of daors, the appmpriateness O+ the artistic category and the suitability of rural scenes for wumen's visual repre~entation,~~ Deborah Ch~rry,Painting Woien An article written in 1898 nuted that wnile Carlyle "+eels most strongly dr-awn ta figure painting" she "Eappreciatesf the beauties and attractions o+ land~capes."~~ A similar emphasis is found in the ratio cf figure paintings to laridscapes in the artist '5 oeuvre, with t igure paint ings Tar autnumbering any other genrem70 However, Carlyle produced and exhibited landscapes throughout her career- They +orm a sisni+icant portion o+ the artist's work and thus merit consideration. Carlyle's landscapes include ci tyscapes, rural spaces, views O+ seascapes and shore1 ines, and al?ine f andscapes. En route tu Paris in 1890, Carlyle's awareness O+ the tandscape about her. as she slimpsed sceneç out the train window, is reveafed in her writing. Çhe noticed: Even in my frightened ecstasy-+rom hayfields, dark poplar trees, gate posts topped with pots of red geraniums, grey walls, and glimpses of lavmder distances. A new colour in life is cuming to me--the blues of France. 71 The quotat ion reveals Carlyle 's p leasure in viewing Zandscape as a spectator. Cherry's observations when sp~aki~go+ a woman's narrative 09 a journey, recounting her experienre of passing iandscape, appiy equaLLy weil when ccmsiaering the si9nificance of Carlyle's narrative: The text speaks of nomen's pleasures in travelling and beh~lding..~.it addresses and constitutes a ferninine subject position for enjoying and experiencing landscape as pictures, and pictures af landscapeœ7= At this eat-ly stage in her career there is evidence that the artist was equally interested in lsndscape and +igural painting. One article nuted that during ber- careet- Carlyle "firçt turne9 to lanàscape work. then to +igures ana painted However, early critical iecognitian and international awardç for her +igupal paint=ngs aFpea? ts have channelkd the at-tist '5 energies away -fiam landszape. Ln additian ta exhititing Victorine (cl8941 in the Paris salon tu critical praise while still a student, Carlyle received the OSA award o+ the year in 1903 and a si iver medal at the St. Loüis World's Fair iz 1904 for The Tiffo7' Each award expressed her peer's admiration cf her talent #or figura1 painting. Her reputation as a +igure painter was Curther rei~hrcedby her commercial ~orkwhich expanded her public and pro+essional recognition, and which +irmly establishad hep, in the minds o+ Canadian peers and critic=, as a gainter af "warm, +riendly pictures ci+ domestic interiors. "7s r ne5e influences could hardly fail to have had an e++ect an Carlyle's selection cf subjects tu exhibit, with the result that the +requency of landscape painting5 exhibited by the artist remained 10~~~~~Undoubtedly in+luenced by her internat îonaf recognition as a painter o+ figures, Canadian critics seldom commenteci on thase landscapes she üid exkibit. However, the art 1st 's taf ent for landsrapes was vindicated in 1013 by the National Gallery of Canada's putSchase O+ Afternoon, Venice (c19Z3) in which the artist success+ui ly combines her interest in marine and urban views, fFig. 1.S j Landscape painting t-equired inde?endent trav~land outdoor work. For s woman artist working at the turn of the century, painting landsrapes oiten meant working undet- physicaf conditisns in conSiict with so~iety'snotions of propri~ty+or- women. Gendered social identities O+ the time mapped out separate spheres for men and wcmen, public s?ace W~Sthe realm O+ men, "-fat- women ta enter it entai2ed--.~isks-"~~AS Cherry observes in the quotation ai the beginning of thiç secticn? in addition to questioning the appropriateness a+ the artistic categary +or wornen ar-tists, opposition centered on the prcpr-iety O+ wamen physicafly paintins out a+ doors. Independent tpavel by women artists to .sint landscapes was still considered by çome to be "on tne nargins o+ respectabifityœW7* Çome wornen artists hund "the required public visibîlity on an exposed site at odds with their codes O+ prapriety" and "eschewed +ulf 'piein ait-' painting." others were chaperoned by their husbanus "when Gn haliday and many depicted tnei t- Iûcality. "79 Carlyle painted the landscape a+ her awn rut-af locality near her homes in Ontario and in Susses, England. The titles cf these works, as for exampie, The Home Pasture at Dusk and Hy Hill Top suggest their personal or-, in the words o+ one contemporary critic- "subjective" qualitiei- The rritic described other landscapes by the artist as " interpretatiuns G# nature-maods- Hawever, t~evast rnajo~ityof Carlïie's Landscapss ai€ assaciated with her trav~ls, Carlyle traveied extecsively throughact Eurûps, the Eastern Seabczt-c of the United States, and ta the Canadian RcckFes, Alone or with a iemaîe iriend, the artist ~aintedmzny landscapes, most of which remain untr-aceb and known on1y through decript ions in ccmtemporar-y exhibition catalogues or reviews- Carlyle's journeys, and in particulat- her trip ta paint in remote areas in the mountains of Brltish Columbia, speak not aniy of a woman'ç pieasures in trav~llino,but highlight the independence of the artist fiersel+, In the summer at' L913 Carlyle and her cornpanion Judith Hastings journeyed across Canada to juin the annual camp a+ the Alpine Club of Canada, held that par in Vermillion Fass, in the Rocky 3ountains of British Columbia.*= Cnrlyle had been invited ta attend the Alpine Club's annual camp by the Vice-President of the Alpine Club o-f Canada, John Fatterson, a WaoOstcack resideni and brnily -Friend.P3 3udith Hastings, vacationing with the CarLyies in Woodstock, accampanied the artist, A photogr-aph taken at the Vermillion F'ass camp shows Carlyle and Hastings standing with an unidentif ied ft-iend, 1 ik~fy .John Fat ter-son. CFig- 4-22> Warnen climbers wer-e caütioned tnat "no lady wh~wears skiris or bloomers wili be allowed to take a place on a climbiog rC?E, as such garments are 2 distinct sûut-ce o+ danger tc the party. The costume suggested ...is the same as that warn by the men--knickerbocker-s, püttees or gaiters, sweater and kr~ockabouthat. "e4 fhus, in the phatoeya~h. the ar-tist and her +rien5 are attired in the pt-escr-ibed costume and appear ready to set out on a tr-ek. The G13ine Clüb accepted women as rnembers and wcmen participated +uïly in al1 a~tivities."~ Hastings, who had pr-evious experience in mauntain clinking, was the more active, since the artist's iack O+ training and "strength did not permit her to becorne an expert clinber." The artist, however, Kas forty-eignt years oid at the tirne, but "proved her-sel+ a good sport, and...her zhat-ming persanality wan...her enduring friends. At the close of canp she spent some time in British Coiumbia and her mountain pictures were the result O+ this perioc o+ work. "" Although Carlyle's paintinqs +rom this trip have not been lacated, one saurce nuted that during "many delightful weeks among the mountains, CCarlyle painted3., .some rernarkably virile pictures, which added consitierably ta her growing reputat ion. "O7 Carlyle's iandscapes, The Pass at Even tide (cl9121 and Lake Louise, Spring (ci9i2), exhibited at the Jenkins' Xemo~iafExhibition in 1925, likely were paintec while OR this trip,=- Zn her buak By A Lady Maria Tippett's claim that Canadian women artists did not engage in painting aipine lanbscapes, is problematic for sne nates only +ive lines previously that "Carlyle painted mountains during her visit t~ British Columbia in 1897 with the Canadian Alpine Club.''e9 Tippett's re+erenre ta Carlyle having "~aintedmountainr" could impfy that the artist executed thes~works frun a distance, perhaps +rom the Iùwn c$ ket- hote:. In reaf ity the Canadian Alpine Club camp, which the artist attended in 1'913, waz lacated at Vermillion Pas= in a remate mountain location accessed only by tt-aic, pack korse, or +oot- A cantempot-ary writer noted that, Courage,..Cisl an attribute of the alpine Club. Fortitude is another. Picture many wumen in one -al1 tent, with few blankets,..though abundance of spruce twigs are supplied beneath thmamust rise at 4 or 5 o'clock in the danrp, cald atmosphere of an altitude of over 6,000 feet, with al1 the washing appliances outside the tent...boots and clothes...stiff and sodden from daily ascents and tramps lasting 10 or 12 hou-. This al1 spells discornfort and calls for endurance.9o Tippett's further claim that "unfike their male counterparts #ew women climbed above the tree line in areas like-..Ban++ to capture the mountain summi t5,. ,. Cor1 bushwack through the dençely forested landscape..,", is put into question by knowledge that thraughout the summer o-f 2913 Carlyle painted Al~inelandscapes while camping in and hikinp thraugn just such terrain, The mountaineering activities of the 1912 camp, in which Cariyle partiripated, included arganized tieks that ranged fr~m"an afternoan tramp" ta a "two day jaunt," with al1 cl imbers carrying their own suppl iesgT2 Carlyle's decision to ~aintalpine landscapes in this remote location is signi+icant, especially in light of society's negative attitudes towards women painting in isolated locations. Carlyle was clearly an artist who, like her male c~lleagues~wished to enjoy latitude of rnovement. painting whatever, and wherever she chose, withûüt genaer or- sacietal based restrictions, Throughout her pro+essionai career Carlyle +ocused her art on the exploration and irnaging of women's experiences. Her paintins5 de~ictdiverse images u+ women and a+ten contest hegemonic deiinitions a+ femininity, They address the Sormations and transitions of +ernininity, and for-eground the âtrength O+ women and the importance a+ friendships between women. In addition, these paintings express women's expet-ience O+ the social rituals o+ courtship, and her depictions of ulder women present diverse images of femininity. In her painting5 of women working within the domestic conte::t she shows us authentic images of women's strength and endurance. Consideration O# her landscape paintings reveals the importance O+ independence and persona: choice to the artistes awn sense O+ identity, Thraugh her isolated mountain treks to recard alpine landscape, and through her independent travel tû paint cityscapes and marine views elçewhere, Carlyle was clearly engagin9 in the activities af the "New WomanW--redefining +smininity as active. strong, and self-deter-mined. This thesis has sought to reclaim and document the work and li+e O-+ the Canadian artist Florence Carlyle. The evidence presented in the text and appendices demonstrates that Carlyle established hersel+ as an acclaimed professional artist who successfully negotiated a position in both national and international art scenes, The literature review of contemporary writing in the 1920s and 1930s has indicated the strength O+ the critical acclaim and recognition she received as a professional artist during her li+etime, The thesis has also addressed the repositioning O+ Carlyle in Canadian art history texts and her exclusion +rom the more recent Canadian art historical canon. Gender bias undoubtedly played a central role in the recasting of Carlyle +rom the centre to the margin. Clne must consider that while Carlyle was excluded +rom the post Worfd War If texts of Canadian art history, in contrast, many a+ Carlyle's male contemporaries, who were figure painters, were not marginalized. The low frequency O+ exhibitions of Carlyle's work in Canada a+ter 1914 may have in some measure contributed to the omission of Carlyle along with many other prominent late nineteenth century women artists- But as this thesis argues, such omissions are the legacy o+ a patriarchal ideology and do not reflect accurately the strength O+ contemporary critical acclaim these women - received or the influence they exercised during their lifetimes, The #ocus O# this thesis has centred on Carlyle's negotiation a+ barriers ta achieve a success+ul pro#essional art practice, How these barriers impacted upon her career and how she established hepsel+ as a professional artist are central issues in this discussion, Her strategies in gaining a pru+essional education and securing other points O+ entry have revealed her persistence in achieving the goal o+ pro+essional art practice, Her early sel+ identity as an artiçt was assisted by matriarchy as seen most notably in Princess Louise's purchase of one O+ her painting5 in 1883, by Lady Du+ferin85 support in the 1890s, and her mother's early support, Ultirnately, hawever, it was through her own resourcefulness, strength and talent that Carlyle was able to achieve pro+essional success. This thesis has sought to demonstrate that Florence Carlyle exernplifîed the "New Womant'--establishing a critically and +inancially success+ul art practice in Canada and the United States. The contrast between Carlyle as the young woman who was chaperoned on her journey to Paris in 1890, and the sel+ assured pro+essional returning +rom Europe in 1899 to open a studio in Greenwich Village, New York, where the freedom O+ a "Bohemian" li+e was availabie, reinforces the image of an independent woman, Her drive toward prdessional recognition resulted in a venture into the world O+ commercial art in 1903, a move that substantial ly enhanced her professional opportunities in the United States. That Carlyle consistently disregarded restrictive social conventions and patriarchal barriers and desired to self- direct her professional career as much a5 possible is demonstrated by her conscious decision ta move to the United States, to work in the world O+ American commercial art, and in always maintaining a balance between her cammercial art commissions and those paintings exhibîted in high art venues such as with the RCA, OSÇi and AAM. One important element presented in this thesis has been the significance O+ matronage and female friendships and the seriousness with which Carlyle pursued her role as mentor and guide to her women students throughout her career. Analysis of Carlyle's subject-matter in the context O+ sacial constructians of +emininity has revealed the particular strength and complexity of her images of women in both the private and public spheres- The examination O+ Carlyle's art clearly indicates that she was a close observer a+ women's private world and o+ the diverse social terrains af women. Her insight is revealed mast natably in the range and diversity of her varied and positive images of women. Carlyle explored expanded versions O+ +emininity ranging +rom subtle nuances O+ female sexuality to realistic depictîons o-f working and older women--images which expand and contest hegemortic de+initians O+ +emininity, Although subject to gendered power relations and in+luenced by societal pressures restrictive to women's art practice, th is thesis has argued that Carlyle's crit ical and +inancial success as a pro+essional artist, can be directly linked to her negotiating and positioning herself as an independent and sel-f-directed woman who served as a highly successful role model for women in her lifetime. This thesis has discussed the li-Fe and career o+ one Canadian wuman artist working at the turn-O+-the-century. Xt has considered her strategies in overcoming patriarchal barriers and explored the diversity of her work, However, there is still much to be recovered and many other issues which could be considered wfth respect to Carlyle and her contemporary Canadian women artists. areas of hrther research might include Carlyle's connections with American women artists and art societies in the United States. In addition ta Carlyle's own work with the Osborne Company, +urther research into Canadian women's participation in the field of commercial art at the turn-O+-the-century might provide insights into the importance of this area to women's art production. Further research might also focus on recovering the historical presence and documenting the sucress of Canadian women in a wide variety of prmfessional careers in turn-of-the-century Canada. Notes to Chapter Four 1. "Collected Pictures of Florence Carlyle". Hail and Empire Toronto, 28 May 1925, n.p.; and Hume, "Florence Carlyle, A.R.C.A.", 10. 2. The known instances of Carlyle depicting male subjects in her work inchde two pastel drawings o+ a male studio madel, presumably executed in Faris during the early 1890's. and in a pr-ivate collectian, the male figure in The Tiff (ci9021 +or which one of the artist's brothers is said to have modeled- Several portraits of male members of her family are afso knwn including her brothers, Portrait of l7)+ Brother (clS98); Portrait, Hr. €&in S. Carlyle (~19021;and Portrait of Rusself Carlyle (n.d.1.; and the male figure with his back to the viewer, believed to have been Carlyle's youngest brather, Russell, in The Piano Lesson (n.d.1. J. "Collected Picture of Florence Carlylen, n.p. Cherry, Painting iioaen, 131. 4 Cherry, Paintinq Uoren, 124. 5. Deboran Cherry, Painting Homen : Victorian Women Artists. Exhibition Cütalogue, (Rochdale: Rochdale Art Gallery, i?e7), 12. 6. Ibid. 7. Key, "Reminisc~nes", 11. 8. Cherry, Painting Woren Catalogue, iZ. 9 Cherry, Paintinq Homen, 137. :O. Chadwick, Waien, Art, and Society, 21E. 1. for sxatnpls, Louis-Michel Van Los's Portrait of Denis Diderot (1767). Carlyle's paifiting may also be cmpar~dta Mory Cassatt's painting of her mother Reading 'Le figaro' !1886). See Grisef da F'cl lock, Mary Cassatt (London: Jupiter Books, l?86), 7, and figs. 1 and 2. 12. Nancy Heller, Homen Artists (New York and London: Abbeville, l?87), 102. Eakins' Tw Sisters (1879) is repraduced in Heller, Wamen Artists, 104, plate 77. 13- Humei "Florence Carlyle. A.H.C.A. ", n. p. Information in this article is based un Hume's earlier interview with the artist. 14. The Story (cl?12! was described by cantemporary critics as "a study a+ a yaung woman ieading under a lamp," and An Interesting Chapter (cl8??), depicted a woman reading befor~a shuttot-ed window, are works which demonstrate Carlyle's tharaugh exploration of this theme. "Ontario Society o+ Artists", Globe and Hail (Toruntol, 5 t'4pril 191Z, O. Both of these painting5 remain untraced. Carlyle's painting #aude Writing A Letter (c.1300) is in a rivat te collectim. 15. "Thirty-Eighth Rnnual Exhibition of the Q.S.A.," Saturday #iqht (12 March 1910): 6. 16. The location of each of these warks remains unknown. Landscape Study uith Figure !n.d.j, a saal1 waoden Fanel (5" n 3*), and Suamer were exhibited at the Jenkins' Memarial exhibition in Toronto in 1925, see Jenkins' Art Galleries, A Hemoriai Exhibition, 1, Il. Figures Under Trees may have (cl9231 Seen owned by the art critic Newton MacTavish, see, TS list of Carlyle's painting5 and their mers in ~1923,Artist Files, Am; see zlso Hector Charlesworth, "Pirturer of Florence Carlyle Mernorial Exhibition of Work by a Faraaus Canadian Painter," Saturday Uight 40 (6 June 1925): n.p. 17. Reading to ifother (~18981,location unknown. Hastinqs and Carlyle traveled in Europe after Carlyle's mother's death in 1913. 18. "O. S. A. Annual Exhibition, " Saturday Night (21 Marcn 1914): 5. 19. Kathleen Adler and Tamar Garb, Berthe Horisot (Oxford: Phaidon, 1987), 84, 85. Examples frequently occur in the work of such women artists as, for example, Marie Bracquemond, berthe Morisot, and Mary Cassatt. 20. See. for exanple, Winterhalter's Queen Victoria with Prince Arthur (LBZO), iz which the Queen is ?rzes~ntedas an icon af moth~rhood. Susan P. Casteras? Images of Victorian Homanhood in Engiish Art (Toronto and London: Associated University Presses, l987), 23, and Fig. 4, 21. "Florence CarlyLe, Artist," 1911, n.p.. 2î. "Dntaria Artists @en Exhibition, " Toronto Haif and Empire (Toronto?, 5 Marrh 1910, 15; and "Thirty-Eighth #nnual Exhibition ai the O.S.A., " Saturday Night (21 March 17141, &. 23. "Thirty-Eighth Annüal Exhibitiun ai the O. SI A. ", 1410, 6. Se alsa, Pollock, "Modernity and the spaces of femininity?" Vision and Difference, 50-90. T~Elocation of Shadou and Sunlight remains unknown. 24. Hector Charfe~worth, "Good Pictures at the O.S.A. Exhibition", Toronto Saturday Night (24 March lsl?j : 2: and, M.L.F., "Carlyle Verçëtility Shown in Exhibition", Unidentified Toronto newspaper article (c. June lW5j : n-p.. Carlyle's imaging of this thene is alço suggested by the titk uf her painting The ffother (ctW5! exhibi ted at the Pennsylvania Academy of Fine Arts in 1906. Falk, dmerican Exhibition Record, 125. The location ùf painting remains unknown. 25. The Daughter was painted in England and first exhibited in the Royal Araderny Sümmer Exhibition. in London, England in i?lb. See Appendix 3, Exhibitions. Carlyle's cornpanion Judith Hastinss fikely mode1 for the figure a+ the mother. Sb. Pallock, Mary Cassatt, 18, 19. 27. Cssteras, Irages of Vzctorian Wo~anhood,83. 28. Ibid., 86. 29. Cherry, Painting Uosen, 127. 30. Cherry, Painting Uomen Catalogue, 12. 1. "Badinage" is a naun meaning humorous ridicule and is derived +rom the French wrd badiner, to teüse or jest, The Concise Oxford Dictionary of Current Enqlish, 5th ed., 5.v. "badinageu. 32. "Sacial and Persanal", Saturday Night 16 il4 March 1903!: 3. Tine men oi the National Club evidentiy did not purchase the painting, which was offered for sale at the price of one hundred dollars, since in 1922 the work was "Lent by the artist" for exhibition with the OSA. The painting remains untraced. TÇ list of Carlyle's works exhibited with the OSA ci9i0-1947, Artist Files, AG0 Archives. 33. Amen remains untraced. "Fine Show of Pictures", Haif and Empire (Toronto), 7 March 1903, 15. 34. Thomas Richards, "Those Lovely Seaside Girls," in The Cammodity Culture of Victorian England: Mvertising and Spectacle 1851-1914 (Stanfard, California: Stanford Univerçity Press, 1990) , 228-231. . "The Ontario Society of Artists Held the finnual Opening, " Saturday Night (8 March l9O2) : S. 36. "Great Exhibition Now in Full Swing, * Haii and Empire !Toronto), 1 September 1903, 22. 37. T. Square Cpseud-l, "Notes on the OSA Exhibition." Satumfay Hight (8 Harch 1902): 7. 38. "Great Exhibition Now in Full Swing," #ail and Empire (Toronta), 1 September 1903, 22. 39. "Ontario Society of Artists," Globe and Hail (Toronto), 5 April 1913, 10. 40. Emphasis mine. "Points About People, In an Art Gallery, " Saturday Night (19 ApviZ 1913) : 3. 41. Iona Upie and Moira Tatem, eds., A Oictionary of Superstitions (Oxford and New York: Oxford University Press, 19891, 40-41. 42. These are Une dame hollandaise (~18931,cat. 346, and La vieille victorine (ct8?4), cat. 34. Allaire, "Les Canadiens aux Salon," 147. 43. "Miss Florence Carlyle." The Gentletuaman, n. p. This article was based on an interview with Carlyle while she was visiting London, Engiand in Aügust of 1895. The mode1 for Une daae hollandaise was Carlyle's neighbar in Paris. 44. "Painters and the Public," Hail and Eapire (Toronto), Christmas 1898, 14. Carlyle's friends, Mildred and Paul Peel, oiten worked in Brittany and with an international community oi artists that congt-egated in Pont-&en and Concarneau and were Iikeiy z source of information for the artist on summer artistic activities. For further information see, Victoria Baker, Paul Peel: A Retrospective 1860-1892 (London, Ontario: iondan Regianal Art Gallery, 19861, 39-43. 45. The Barbizon school stemmed +rom the work by Jean Francois Millet (1814-75, wha worked more directfy +rom nature, explared the effects u+ outdoor light, and depicted scenes of rustic p~asantlife with unvamished realism and heroic grandeur. Ruben5tein, herican Women Artists, 109. 46. Jahnçton, "Florence Carlyle, " 9. Millet Mas born in Normandy and later settled in the Forest of Fontainebleau, at the village of Barbizon, see, F. Eartt, Art: A History of Painting, Sculpture, Architecture 4th ed. fkglewuud Cliffs, New Jersey: Prentice Hall, and, New York: Harry N. Rbrarns, 19931, 908. See alsa, 1. Chilvers and H. Osborne, eds., "Jean-francois Millet" in The Oxford Dictianary of Art (Oxford and New York: Oxford University Press, 19881, -m. 47. Jahnston, "Florence Carlyle, " 9. The- is contradictory evidence concerning the mode1 for the painting La vieille victarine. One article published in Canada refers to the painting as #ère Adele and as, "depicting the model hopased for Millet's Anjelus". "Art," Saturday Wight 10 (6 March 1897): 9. Carlyle may also have painted her hast, Mere Adefe, since an article written in 1896 m+ers to the mudel by a di+ferent name but notes, "Une of ...CCariyle'sI studies is a head O+ Mere Marier, who was the model that posed for Millet in his world-famed "Angelüs". In the same article another painting a+ a similar sub ject is t-e+erred to, "During two yea5 she eshibited at the Salon de Champs Elysees, where her wark was well spoken of, especialiy her "Uld Peasant Wuma", a study done at Barbizan Csicl," "Painters and the Publi~"~1898, i4, The WPAG's Centennial exhibition catalogue reproduces the painting known as Victorine on the front cover and describes it as, "A Brittany peasant woman, painted in France. The same model, Merc Csicl Harier, in her youth, posed for Millet's "Angelus". The most reliable source is taken +rom Carlyle's mernoirs and +aIlows in the main text. Likely this story was ronfused when the painting was exhihited in Cana~aand instead of Sarlyie's mdel being described as Victorine, the friend of Millet's modei, the accaunts simplified the stary and iisted ber as the more famous model a+ Millet. 48. Jûhnston, "Florence Carlyle, " 9. 3ahnston is quoting fram a manuscript by Carlyle in a private collection. "Gamp" is uef ined by the O.E.D., (6th ed. 1 as a colluquial word meaning an unbrella, êspecially wferring to a large, untidy unbreL la. 49. See note 39, Chapter One, for the review o+ the Salon painting. Written by Paul Fabre, the review appeared in the Organe des Interets Canadians et Francais, faris in 1894. See also Yurgan, Canadian Ifen and Uoren (18981, 156-157. Carlyle exhibited one other painting, entitled Portrait, at the 1894 Salon tcat. 373). Allaire, "Les Canadiens au:: Salon, " 147. This painting =mains untraced. 50. Ernphasis mine. "Art," Canadian Home Journal (March 1897): n-p., clipping scrapbouk, WAACA, Toronto. This painting may be the renamed Victorine; however its d~scripiionalsa matches Carlyle's Une dame hollandaise (~1893)as weli as a work entitkd Old Moian in a Doorway (n.d. i. (Figs. 2.4, 3.3 and 4.17) 51. Organe des fnterets Canadians et Francais, n.p.. See introductory Chapter, note 41, for fuli quotatiun- Leon Bonnat (18SZ-19231 was a French painter and collecter who worked mostly in portraiture after ~1870. Chilvers, Oxford Dictionary of Art, 63. 52. Cherry, Painting Uoien Catalogue, 13. 53. See for example, Linda Nochlin, "Morisot's Uet Nurse: me Cunstruction of Work and Leisure in Impreçsionist Fainting," in Yoien, Art, and Po~rand Other Essays (London and New York: Thames and Hudson, 1989)? 37-56. See also, Kathleen Adler and Tamar Garb, Berthe Horisot (Oxford: Phaidan, 1987). 54. Cherry, Painting Hoien Catalogue, 13. 55. "Impressions-maian '5 Art Exhibit, " Saturday Night 10 (6 March 1897) : 1. 56. Lynn Doyle, "Art," Saturday Hight 10 (6 March 1897): 9. See also, "Art," Canadian Home Journal (March 1897): n-p., Cl ip~ingScrapbook, WAACA. 57. The bicycle helped to promote the New Woman, enabling women to enjoy physical +reedom and health. Casteras, Images of Victorian Womanhood, 145, 151. In addition, Emma Windeat's A Shady Corner !cat. no. 100) was lampooned Dy a scene of a thief waiting in the shadows while a man approaches, and Still- Life fcat. na. 50) by Eliz~Hardings is replaced by a sketch O+ a man tied tu a tree. In the same cartoon, Ethel Heaven's Reflection (cat. no. 551 was replaced by the silhouetted shapes of a couple kissing, See figure 4.19. Se. Several tities of paintings exbibited by Carlyle at the RCA exhibition in 1897 and 1898, contemporary with the WAAL exhib i tian, including Sketch, Darning Stockings (cl8971 and Peeling Potatoes (ciB98) suggest her cornmitment to imaqing women's work in the domestic cantext. These paintings are untrared. Z?. James Mavor, Notes on Appreciation of Art and on Art in Ontario ~ithRemarks an the Exhibition of the Ontario Society of Artists (Toronta, 18981, 18. 60. bram Dijkstra, Idols of Perversity: Fantasies of Ferninine Evzl in Fin-de-Siecle Culture (New York and Oxford: Okfard Qniversity Press, l986), 175, and Fig. VI.3. Carlyle's paintino Ilasherrroian (nad. 1 is in the collection of the WGG, Waodstock, Ontario, 61. Ibid. 62. Hector Charlesworth, "Fictures by Florence Carlyle", Satutday Niqht Io Jüne 19251, n.p. First exhibited in London, England in 1918. See Appendix 3. 63. for further information see, Maria Tippett, Art at the Service of Mar: Canada, Art and the Great #ar (Toronto: üniversity of Toronta Press, 19841. See also the work of Mabel May, Frances Loring, Florence bdyle, and Caroline Armingtm, wha, like Carlyle, were comnissioned by the ZWM Fund. Tippett, By A Lady, 55-56. a4. Ma~yMacteod Moore, "Canadian Wmen War Worke~ Overseasn, The Canadian Magazine 52 (January 1919) : 739. 65. Her son, Captain Guy Drummond, was killed in action in April l?15. See also, "Canadian Mar *mcrials," Saturday Niqht 32 (26 October 1918): 17. 66. Florence Carlyle, letter to Russell Carlyle, c. 3 Ap+ii, 1918. Wwdstock Public Art Gallery artist files. 67. Insignia composition and meaning confirmed by the Canadian War Museum, Ottawa, 2 May 1994. See aIsa description in, "Canadian War Memorials," 1918, 17. t8. Cherry, Painting Uomen, IfS. 6Q. "fainters and the Public," 1898, 14. 7C. While many of Carlyle's warkç remain untraceci, so~c indication O+ subject matter is given in contemporary reviews. See Appendi:: 2, Exhibitions. 71. Johnston, "Florerice Carlyle, " 6. 72. Cherry, Painting iiomen, 165. /3. "Canadian Artist Dead," Hontreal Gazette f5 June 1923): n.p., Artist Files, Plantreal Msseum of Fine Art. 74. See Appendix 1, and Figures and . 75. Hammond, Painting and Sculpture in Canada, 3b. 76. Çee Appendix 2. 77. Pcliock, "Modernity and the spaces of femininity," 69. 78. Cherry, Painting Uaren, 171. 79. Ibid. 80. The critic was speaking of An Autumn Day !n.d. ), and A Woodiand Vista In.d. 1, whith were exhibiteti in i?25 ai the J~nk:ns fiernarial Exhibition. M. i.F., "Carlyle Versatility SNmn in Exhibition," p.p.: unidentified newspaper a~ticle (Jüne 19351, Artist Files, WPAG. 81. Many of ber- landsca~esremain üntt--acea, as for example, Old Canal !c1E9?), exhibiteb with the WAAC, Via Roberto Browning tc19131, and A Byway, Venice (c1313i, eshibited ~ith the ECA, anci her paintins of "houses and facades" entitled Quay Tom, Hinehead (cT913), exhibited in London, England with the British Calonial Society of Artists. M.L.F., "Carlyle Versstility Shown in Exhibition", n.p., unidentified newspaper article (June 19251, Artist Files, WAG. Many more of Carlyle's lanuscapes were n~texhibited during the artist's liietime and only =rfaced in 1935 at the mernorial exhibition oi h~rwork in Toronto at the Jenkins' Art Gallery, such as, A Twiliqht Study in Yenice fn.d.), Sundown on the Shore at Haples (n.d.), and Landscape Study in Itaiy (n.d. >,and theit* small dimensians which average +ive by three inches, suggests that they were ~aintedout of doors while the artist was traveling in Ttaiy. See also, The Jenkins' Art Galleries, A Mernorial Exhibition. 82. Hume, "Florence Carlyle, A. R.C.A. " IO. Some sources cite 1897 as the date of Carlyle's trip tu the ACC camp at Vermi l l ion Pass, however, this date appears too early as Carlyl~did not meet Juliet Hasting until 1911. Her attendence at the 1912 camp does n~t,however, rüle out the passibility of Carlyle having made same eariier trip tû paint mountains in Sritish Columbia, especially since her elder brother, Wiliiam A. Carlyle, a mining engineer, held the position of Provincial Kineralogist and Director of the Department of Mines, B.C. between 1895 and 1898, and warked as a geologist for the Eritish Mepican Corporation in Rossland, B,C, between 1898 and 1890, Morgan, Canadian #en and Uomen, (1412 ed.1, 200, See also, "Paintinss Typify Artist?" Toronto Telegram (Torontoi, 16 May 1935, n.p.; and The Jenkins' Art Galleries, A Uemoriai Exhibition, 15, each of which claim that Carlyle painteu with the ACC in British Cclumbia dwing "the Summer of i897" . 63. Alpine Club of Canada letterhead an Ietter frum ACC ta Sir Wif+rid Laurier, i December 1909. Laurier Papers, #C-883, Pxblic Archives o+ Canada. See also, "Mernory of Florence %rlyle tionared, " (ITh), n.p.. 84. "The Alpine Club of Canada," Saturday Uight 20 (1 June f907): 7. 85. For hrther in+omation on the ACC see, Carole Harmon and Peter myte Foundatian, eds., Great Days in the Rockies (Toronto: Oxford University Press, 1978) : and, Carole Hamion, ed., Byron Harmon, Uountain Photographer (Eanff, Alberta: Af t i tude Puhl ishing, 1992). 86. Hume, "Florence Carlyle, A.R.Z.A.," 10. 87. The Jenkins' Art Galleries, A Hemorial Exhibition. 15. 88. Ibid., 5. 30th paintinyr were small in size, seven and a half by nine and a half inches, and Lake Louise, Spring was painted on a "t-eve~iblepanel". 89. Tippett, By A Lady, 34. 90. tochiel, "Aftermath of the Alpine Club," Saturday Night 25 (4 May 1912) : 31. 91. Tippett, By A Lady, 34. 92. Papers of F.M. Freeborn, liçt O+ Alpine Club of Canada photographs, # ACSS-18. Collection of the Whyte Museum of the Canadian Rockies, Ban+f, Alberta. The archives 05 the 1912 camp record climbs and eacwsians ta many Zakes, ridges and peaks in the vicinity ai Vermillion Pass during the annual camp. These includec an excursion ta Lake Louise, the süh ject spocificaily identified in Carlyls's painting Lake Louise, Spring (c1?!3), on the 17th of June 1912. See aiso, "Winthrup Edmund Stond Collection of Canaaian Mauntain Fhotqra~hs,i?i2- 1921," list of photographs, Alpine Club # AC55-23, 1, Collection of the Whyte Museum, Banff. APPENDIX 1 : CHRONOLOGY 1864 Born Florence Emily Carlyle, Galt, Ontario, Septernber 24, daughter o# William Carlyle and Emily Youmans. Second child, alder brather barn in 1862, three younger brothers and two younger sisters, Artist 's mother, Emily Youmans (1834-1913) was originally +rom Picton, Ontario where her family were prosperous United Empire Loyal ists. Artist 's father, William Carlyle (l834-l9ll), barn in Cockermouth, in England's Lake District. fmmigrated with +amily in c. 1838 ta Upper Canada, settling near the village of Mount Pleasant, just south of Brantford, Ontario. 1870s Famify moves tu Woodstock, Ontario. William Carlyle, artist 'ç father, appointed lnspector of Schoofs for Oxford Coun ty. 1871-1878, aged 7 to 14, educated in Woodstock's "public and grammar schools". Drawing ability seen as exceptional, First drawing lessons in children's art cfass organized by her mother at 332 Simcoe Street, Woodstock j instructor, William Lees Judson ( i84Z-lW8) f rom London, Ont , 1874 Address Norwich Street, Woodstock. 1878 Attends Canadian iiterary Inst i tute, Woodstock, remains a student here until 1886, age 14 to 22. Studies art undet- Prof essor Farmer. Address Dundas Street, Woodstoc k. 1880s Family moves to "Englewood", 146 Wilson Street, Wo~dsto~k,in 1881. Surnmers: Taught at summer art school at Grimsby Park, near St, Catharines, Ontario #or +ive surnmers, Taught "young ladies" art classes at 368 Simcoe St,. Woodstock. 1883 September, Exhibits several paintings in Ladies Department, Toranta Industrial Exhibition (later CNE). HaterJifies bought by Princess Louise, fourth daughter a+ Queen Victoria, and wife of the Governor-General, cl884 Contacts with the London, Ontario art community, meets Paul Peel, encouraged by Peel to study art in Paris. Dctober 30: Leaves for Paris accompanied by painter Paul Peel and his sister Mildred Peel, a sculptar, Sails +rom New York, travelç +rom Antwerp to Paris by train. Studies art in Paris under French artist Adolphe-William Bouguereau, Summer: Tours Barb izon f orest area in French coun tryside sketching and painting en plein air, in the open air- Studies under Delecleuse +or two years in Latin Quarter, Paris. April 1892: Exhibits A Bretagne Peasant and An fnterior at Bretagne with the Art Association O+ Montreaï. Attends the Academie Julian, studies under Jules Le+ebvre and Tony Robert-Fleury- Spring 189s: Exhibits Une dame hollandaise (c.1893) in Salon of the ~ociétédes Artistes Français, Paris. Receives favorable critical reviews +rom French press. Address given as 18 Rue de Milan, Paris- April t89S: Trip to London, England, Summer: Painting in rural France; La vieille victorine painted while in Brittany- Exhihits two paintings, including La vieilIe victorine and Portrait in Spring Salon of the ~ociét6des Artistes Fran~ais,Paris. La vieille victorine hung in valued "on the Line" position, at eye level, Studies under J-J. Ben jamin-Constant in Paris. July. Trip to Landon, England, visits ber great uncle, Thomas Carlyle's house in Chelsea; paints a portrait of the writer from a photograph and donates it to the museum. Trip ta Ltaly. Winter. In Paris, enter5 the studio of L'tiermete "the celebrated group painter", also studies under Rolshoven. Leaveç Paris and lives brie+ly in London, England, Address given as Carlyle Studios, King's Road, Chelsea- Exhibits Out-Patienes at Royal Academy. Returns to Wocdstock, Ontario. Establishes studios at Carlyle family home, Englewood, in Woodstock, Ontario, and teaches art classes (~1896- cl9031 at the Masonic Temple, Richmond Street, in London, Ontario. Lives intermittently in Woodstock. Elected an associate member of the Royal Canadian Academy . March. Exhibi ts "Here Adelet*, Harvest Hoon, OId Canal, Spinning Uoran, The Approach of Dusk, and A Study and in the Woman's Art Association O+ Canada Exhibition, Toronto Esh ibi ts Portrait of Dutch Lady, Sketch, Darning Stockings, and Portrait at RCA exhibition, Ottawa- March 18. Present at the opening Noman's Art Club o+ Lcndan opening. Exhibits Spinning #oran, and Street nith a Canal. May. Exhibits An Interesting Chapter, and "Reminiscences" at the OSA exhibition, Toronto. Teaches at Havergal Col lege, Toron ta- Exhibits with RCA, OSA, AAM, and Women's Art Club London, Ontario), receives critical praise for portraits; Teaching in Londan, Ontario (until c-IWS) . Establishes studio in Greenwich Village, New York City- Summer= Spends summer traveling and painting at Cape Cod. Living in Woodstock, Ontario intermittently. March- Elected a member o+ the OSA. Awarded Honorable mention at the Pan-American Exposition in Bu+falo, New York +or Golden Rod. February 28. Exhibits six paintings in OSA Exhibition, including The Tiff. March. Awarded the OS& "prize O+ the year" for The Tiff- The Tiff purchased by the Ontaria Provincial Government for- 81000. November. Exhibits #y Lady Anne with Rochester Art Club, Rochester, New York. March: Exhibits five paintings at the 0% exhibition in Torontc, including Badinage. Çeptember: Exhibits Sumrer Horning at CNE. Awarded f irst prize in the Osborne Calendar Company a+ New York, Annual Cornpetition, in "figure sub jects" category +or het- painting Uhen Hother Mas A Girl- Receives a contract f rom the Osborne Company to paint 12 piçtures a year. Mat-ch: Exhibits with the Society O+ CImerican Artists in New York City. April: Awarded silver medal +or The Tiff at the Çt, Louis World's Fair, Louisiana Purchase Exposition, St Louis, Missouri. In New York. Listed as "painter" in American Art Annual: address given as 7 West 42nd St, New York, N,Y,; lives at this address until 1908. January. Exhibits three paintings at the Pennsylvania Academy of the Fine Arts Exhibition in Philadelphia, Paints A Jewess, a portrait o+ a friend, Miss Moses, with whom she shared her New York studio. 1906 Three works submitted to the Carnegie Institute o-f Fine Art are rejected including A Jewess, Exhibits A Jewess, and two other paintings at the iOiçt Pennsylvania Academy of Fine Arts Exhibition, Philadelphia, Address given as "New York, New York" in OSA Exhibit ion cataf ogue of th is year. 1908 April- Exhibits A Lily of Florence in the Exhibition of Paintings by Uoaen Artists at the Knoedler's Galierieç, 5th five- and 34th St., in New York City. Summer. In Woodstock; meets her cousin Helene Yournans. Helene rnodels for several paintings this summer including Pippa Passes, Cummissioned by Osborne Company of New York to execute six paintings for their art calendars. Novernber. Returns tu New York city to fulfill contractT Helene arccnpanies her as model, Brother William visits +rom Spain, th~ydine at Waldorf Astoria- 1909 Apri l Visits Woodstock, Address in New York City given as 32 West 24th Street. Exhibits in several private galleries in New York City. 1910 July: Participates in Exhibition of Canadian Art at Walker Art Gallery, Liverpool, England; Grey and Gold, The TLff and one other paintinq exhibited, Teaching at Montreal's Art Asçuciation School c-1910- 191 1 (winter terml , 1911 Mar-ch: Portrait of #y father and A LiLy of flarence exhibited with the OSA. Spring- Travels to Wimbledon, England with her mother to visit her brother William; meets Judith Hastings, a neighbour, June, While abroad father dies suddenly; they return to Woods tack. 1912 January, Judith Hastings arrives at Englewood, Woodstock +or lengthly visit, July- Travels to Vermiilion Pass in the mountains O+ British Columbia with Judith Hastings to paint with Alpine Club, September: Exhibits at CNE, Toronto; address given as "Woctistack, Ontario". December. Mother dies. 1913 Early in year. The Carlyle family home, Englewood, is sold- Maves to England, Rents "Yew Tree Cottage", Crowborough, Sussex, wi th Judith Hastings; they also maintain studio +fat in London. April: The Threshold bought by Ontario Government at OSA Exhibition. Trip ta Venice with Judith results in several painting5 including Two Woren on a Balcony, Venice, September: Exhibits 3 paintings at CNE, Toronto; address given as "Grange Cottage", The Grange, Wimbledon, London, England", Judith Hastings' family home. 1914 Exhibits Hiss Hastings, and Kathleen Carlyle, a portrait a+ her niece, at The Royal Acaderny of Arts, London, England. Germany declares war on France, August 3, Engaged in war work. December. Spring Song tours Canada in the Fatriotic fünd Exhibition. 1915 Exhibits Portrait of A Friend at The Royal Academy of Arts, London, England, August. Wurking as volunteer at Hoehampton House, south- east England, a convalescent hospital +or servicemen, October-winter- Cousin Helene visits Florence in England and models +or several warks, Wot-ks for war e++ot-t, along with Judith and Helene, in "Mar Depot" near Crowbarough, Sussex, rolling bandages and packing hospital supplies to be sent io France. Warking as volunteer in munitions work~rscanteen, at Abbeywoad, near Woolwich, for three months; shares living quarters near munitions factory. Leaves cantzen work and returns to Yew Tree Cottage, Sussex. Returns to painting. .1916 Exhibits three works at The Royal Academy a+ Arts, London, England, November: TWO paintings exhibited at the RCA exhibition in Montreal, 1917 Exhibits at OS6 and CNE exhibitions, 1918 January: Commissianed by Canadian Mar Memarials Fund to paint portrait of Lady Julia Drumrnond, Assistant Camrnissioner O+ the Canadian Red Cross. February/March: Stays in Lady Drummond's home, near Westminster Abbey, London, England fur one month painting portrait- tbvernber 11, Armistice ends war. December: Partiripates in Peace and Uar Exhibition, London, England; exhibits 8 paintings, 1919 March: Campanion Judith Hastings buys new apartment in South Kensington, London; becomes their winter residence, October: "Yen Tree Cottage" purchased by Judith, nearby buttery turned into Carlyle's studio, January: Lady Drumrond shown in Canadian Mar Heauriafs Exhibition, Burlington House, London, England, 1920 Exhibîts one work at The Royal Academy of Arts, London, Eng land, July: Visited by Miss McCord a friend +rom "New York" days, Writing short storys and working on a book manuscript, 1921 Spring: Exhibits one work at The Royal Academy o+ Arts, London, England, Still Life, Invited to exhibit at Hull Art Gallery, Hull, England, exhibits 5 paintings, Trip ta Italy and France. Meets old teacher, Delecleuse in Paris, Judith's parents il 1, artist divides time between Crowborough Cottage, Kensington apartmen t, and Hastings ' residence in Wimbledon, 1922 November/December, visits sister Maude in Toronto. returns to England due to poor health, Periodically iil, Writes last short story "Mary's Child". 1923 February: Undergoes surgery in Landon, Eng land , March: Returns ta Yew Tree cottage, Crowborough. Sister Maude travels ta England and stays at cottage. May 2: Dies, age fifty-eight, at Yew Tree cottage; is buried in Crawbarough, Sussex. 1924 November: Short story "Mary's Chi ld" pub1 ished posthumousiy in Tire and Tide (Londan, Enqlandl , APPENDIX 2 * SELECTED EXHf BIT 1ONS, AWARDS, CIND HONORS 1883 Toronto. Turunto Industrial Exhibition (later renamed the CNEI , September 11-22, 1883, Materlilies. Bought by H, R. H, the Princes5 Louise, daughter o+ Queen Victoria, wife of the Marquis O+ Lorne the Govenor General of Canada, 1892 Montreal, At-t Association of Montreal, 18 april-14 May, A Bretagne Peasant, (No, 22) (6300); An Interior at Bretagne, (No. 23) (875) 1893 Chicago. World's Calumbian Exposition, 1893 Paris. Salon of the société des Artistes Français. Une dame hollandaise, (No- 340) 1894 Paris. Salon of the société des Artistes Français. Portrait, (No, 373); La vieille victorine, (No. 374). 1895 Montreal. Art Association of Mantreal, 6-30 March, La vieille vlctorine, (No. 24) (82OO). 1895 Toronto. Royal Canadian Academy O+ Arts. 16th Annual Exhibition, Opened, 18 April. La vieille victorine, (No, 34a). 1896 London, England, The Royal Academy of Arts, Out-Patients. (No. 745). 1897 Toronto. The Warnan's Art Association of Canada. 9th Annual Exhibition, 1-17 March, Robert's Art Ga1 leries. OId Canal, (No. 6) (825): Harvest Hoon, (No. 7) (830); Spinning Woran, (No. 8) ($50): "Here Adele", (No. 9) (875) ; The Approach Of Dus&, (No. 10) ($50) ; A Study, (No. i 1) ($25). The exhibition subsequently toured Hamilton, St, Thomas, Br~ckville, Montreal, and St. John, N.B. 1897 Ottawa. Royal Canadian Academy of arts, 18th Annual Exhibition. Opened, 9 Warch. National Gallery. Portrait Of Dutch Lady, (No. 34); Sketch, Darnîng Stockings, (No. 35); Portrait, (No. 36). 1897 London, Ontario, Women's Art Ciub of Landon, 5th Annual Spring Exhibition and Art Loan. 18-27 March. Public Library. Spinning CWomanJ; Street Hith A Canal, 1897 Hamilton, Ontario, Woman's Art Association o+ Canada, Hamilton Branch, 2nd Annual Exhibition, 22 March-coi Gpril, Mere Adele, and "Epainting O+ al young woman in voluminous white draperies", perhaps The White flower (c. 1893). 1897 St, Thomas, Ontario. Woman's Art Association of Canada, St. Thomas Branch, Annual Eshibition, c, 17-27 Apri 1. #ere Adele, and Ca painting of3 "a lady in white", perhaps The White FIotuer (~~1893)- 1897 St. John, New Brunswick, Woman's Art Association of Canada, St, John Branch. 1st Annual Exhibition. 11-15 May, Here Adele, (No. 54) ($75); Harvest Hoon, (No, 66) (650); A Study, (No- 71) ($25)- 1897 Toronto, Ontario Society O+ Rrtists, 25th Annual Exhibition, Opened, 13 May, An interesting Chapter, INc. 18) ($100); "Rerr'niscences", (No- 19) (9751 1898 Toronto. Royal Canadian Academy of Arts, 19th Annual Exhibitian, Opened, 3 March. OSA Gallery, Portrait of #y Brother, (No. 27); Poptrait of My Hother, (Na. 281; Day of biorks, iNo, 29); Reading to Hother, (No. 30); Peeling Potatoes, iNo. 31); Road Through The fields, (No- s21; Portrait of a Dutch Lady, (No- 33). 1898 Mcntreal, Art Association of Montreal. 18th Annual Spring Exhibition. Opened, 4 April. Road Through The Fields. (No. 131, 1898 Toronto- Ontario Society of Artists, 26th Annual Exhibition, Clpened, April 3 Harvest Hoon, (No, 8) ($50); Honday Horning, (No. 9) ($30). 1898 London, Ontario. Mamen's Art Club O+ London, cth Annual Spring Exhibitian. O~ened, 29 May. Public Library. Drears; A Dutch Lady. 1899 Toranto, Maman's Art Associaeion of Canada Loan Portrait Exhibition. 3-15 Apri l. Temple building. Hrs. Carlyle, 1900 Ottawa, Rcyal Canadian Academy of Arts, 31st Annual Exhibition. Opened, 15 February. National Gallery. Portrait, (No. 20); "He Beseech Thee to Hear us, O Lord8', (No. 21) (BiOO); The Garden, (No, 22) ($3Cjj: June, (No. 33 ($50). 1900 Toronto, Wcman's art Association of Canada, 12th Annual Exhibition, 22 February-8 March. Gallery of the Asçaciation,, Con+ederation Li#e building, With the Boys in the Transvaal, (No, 6) (84U): Appies, (No, 7) ($IOi ; Blackberries, (No. 8) (615); Pfeasant Hour, (No, 9) (Not +or sale) 1900 Toronto, Ontario Society of Urtists. 38th Annual Exhibition, 3-20 Narch, Portrait, Blanche, (No. 17): The Rose-Birthday, (No, 18) ; Hoflyhcrck Tire, (Na. 19) ; Study of a Head, (No, 20)- 1900 Toronto, Toronto Industrial Exhibition, 27 August-8 Septernber, Milking Tire, (Na- 361, ($25); Study, (No, 371, ($20)j The Wilious, (No, 381, ($25): Harvest Hom, (No, S9), C$50); Study, (No, 4O), ($151, 1901 Montreal, Art Association of Montreal, 8-23 March. A Summer Day, (No. 21) ($301; Goring Tide, Portu~ueseGirl At Cape Cod, (Na- 22) (S0i- 1901 Carlyle listed as rnember od OSA but did not exhîbit in annual spring exhibition, 1901 Toronto, Royal Canadian Acaderny of Arts, 22nd Annual Exhibition, Opened, 13 April. OSA Gallery, Panel Picture of Self, (No, 37); CoaZ Schooner Haitiny for the Tide, (No. 28); The Hiilo~s, (Na. 29) ; Grace Before Bread, (No, 30); Golden Rod, (No. 31): Harvest Hoon, Barbizon, (No. 32); Dusk, CNo, 33); Roses, (Na. 341, 1901 Bu+falo, New York, Pan-American Exposition- 1 May-1 November. Canadian Section, Painting (Group 1). Honorable mention: GoIden Rad. 1901 Toronto, Toronto Industrial Exhibition, 26 August-7 September. Sunset, Cape Cod, (No, 2901, ($25): Leman Pie, (No. ZTl), ($25): Gfadys, (Na, ZW), ($10:; Sketch, Cape Cod, WU, 2931, MIS), 1902 Toronto. Chtario Society of Rrtists. 33th Annual Exhibition, Ctpened, 28 February, The Tiff, iNo- 14) C8l.O) ; Betty 's freasure, (No, 15) ($753 ; Roserary, (No. 1 (875);Roses, (No. 17) ($35): #y Lady Anne. (No. 18) tnot for sale); Sunset Tire, (No, Z9) ($45). 1902 Toronto, March. Ontaria Society of Artists awards annual prize (8200.00) to Carlyle for The liff. 1902 Montreal. Royal Canadian Academy of Arts- Z3t-d Annual Exhibition, Opened, 20 March. Art Association O+ Montreal Gallery. Portrait, Hr. Edwin SI Carlyle, (No. 28) ; Portrait, Urs, Ernest Smith, (Na. 29); June, (No- 301, The Threshoid, (No, 31); Bye-and-Bye, (No- 32); Thoughts, (No. 331, Toronto, Toronto Industriai Exhibition. 1-13 September- Music, (No. 23i, ($25);Peasant Homan, (No- 241, (8400); The Gold Chain, (No.. 25), ($65); Here Adefe (No, 261, ($200); OId Canal, (No, 271, ($75); Hillows, (No. 281, (850); Hother, (Na. 291, (Nat for sale); The Book, (No, 301, ($30);The Violinist, (No, 3li, ($200); OId Street, (No, 321, (6051; Honday Horning, (No, 337;) (935); Head, (No, 341, (865); forty Winks, (Nu, 351, ($30); A PIeasant Hour, (No- 361, ($100). Rochester, New York, Rochester Art Club, 20th Annual Exhibition, 17-27 Navember, #y Lady Anne, (No, 231 (8701, "At the 20th exh, in 1902 a feature was the display a# painting5 by the members of the Royai Academy of Fine Arts, Canada- " Toronto. Ontario Society O+ Artists, 7-28 March- "Amen", (No. 22) ($700): "Badinage", (No, 2s) ($100) ; Portrait of Uiss Hary Paddicoib, (No. 24) ($200);Tèrilight, (No- 25) ($100); Grandwother's Goèrn, (Na. 2t) (975). Montreal. Art Association of Montreal, 12 March - 4 Aprii- The Story Book, (No, 31) ($85); The Ship Builder. (No. 22) ($75); Grey Day, (No. 23) ($75);Poppy Sprite, (No. 24) (85Gj; The Garden: (No. 25) (850). Ottawa, Royai Canadian Academy O+ Arts. 24th Annual Exhibition. Opened, 16 April, Natiûnal Gallery. Before Her First Communion, (No, 30); The Studio, (No, 51); Iris, (No, S2); The Little Housewife, (No, 33). Each painting was sold +or $25. Torcnto, Dominian Canada Industrial Exhibition i+armerly the TI€), Department of Fine Arts Exhibition, 27 August -if Se~tember, The Tiff, (Na, 221, L~anedby the Ontario Government; The Hush of T~rilight, (No. 23), (850): The Picture Book, (Nu- 341, ($SU) ; Little Ship-builder, (No- 251, ($401; A Lady of Canada, (No, 26), ($151; Golden Rad' (No, 271, (850); Iris, (No, 28), (825),Farty Winks, (No. 20); Sumrer Horning, (No. 30)- Toronto. February. Carlyle listed as member o-f OSA but did not exhibit at the OSA spring exhibition, Montreal, Royal Canadian Academy a+ Arts, 25th Annual Exhibition. Dpened, 17 March, Art Association O+ Montreal Ga1 lery, Reriniscences, (No, 31 ; The Tiff, (No, 321, New York City. Society of American Artists 26th Annual Exhibition, Galleries of the American Fine Arts Society, 315 Wsst Fi-fty-seventh Street. (26 March-1 May, 29041- St, Louis, Missouri- St, Louis World's Fair, Louisiana Purchase Exposition. Carlyle awarded a çilver meda1 for The Tiff (19031, New York City, Carlyle awarded First Prize, Figure Painting categary, in the Osborne Company 's Secand Annual Osborne Calendar Cornpetition for her painting When Hother #as A Girl, $500 î 100) Awarded, Phi f adelphid, Pennsylvania- Pennsylvania Academy of the Fine Arts, 100th Anniversary Exhibition. 33 January-4 March, Tired Hands, (No, 354); Sketch of the Artist, (No, 384); Christine, !No, 447)- Carlyle listed as member of OSA but did not exhibit in annual spring exhibition. Halifax, Nova Scotia, Dominion Industrial Exhibition. The Tiff, (No, 37); Like Unto A Flower, (No, 37a) C830Cl1, Fhi ladelphid, Pennsylvania. Pennsylvania Academy of the Fine Arts- lülçt Annual Exhibition, 20 January-3 March. A Jest Between Times, (No, 62); The Hother, (Na. 623); A Jewess, (No, 703). Carlyle listed as member O+ OSA but did not exhibit in annual spring exhibition, Toronto, Canadian National Exhibition, 27 August-IO September. Like Unto a Fio~er,(No, 70) (8300): Surmertirne, "Design +ar a window", (No, 71 1, (QIS00). Sherbrooke, Quebec, Dominion Industrial Exhibition- Toronto- Canadian National Exhibition, Department of Fine Arts. 26 August-9 September, Rose Birthday, (No- 58) Loaned by Provincial Government, Normal School: Grandmother 's Gown, (No, i38a) ; Badinage, (Na, I38b)- New York City. Exhibition of Pairrtings by Ucrben Areists, Knoedler's Galleries, 5th Ave, and 34th Street, New York, 20 Aprif-2 May. A Lily of Fiarence (No. 591. 1909 New York. Fi+th Avenue Art; Galleries (F,A=A.G,), Auction Sale of Paintings, (F.A,A,G. 1, 546 Fi+th Avenue, New York, (6 May) Hiss Betty, ($100,00) 1909 New York. Sutcli++e Gallery, Auction Sale- II y a toujours de la place pour un de plus. (897.00) 1910 Toronto, Ontario Society of Artists, 38th Annual Exhibition, Opened 5 March at the Art Galleries of the Public Library Building. Hother And ChiId (No, 143); Shadow And Sunlight (No, 149); Pippa Passes (Nu, 150); A Book Of Verse Beneath The Bouqh CNo, 151 ) ; Thou Art Hy Single Day, 1910 Montreal. Art Association O+ Montr~al,26th. Spring Exhibition- 4-23 April, Grey and Gofd CNo.51) 8400; The Hoth (No, 531 8250; The Patio (No, 533 $300; The Joy of Living (No, 543 8250, 1910 Liverpool, England. Exhibition of Canadian Art, Walker Art Gallery, 4-23 July, Organized by the Royal Canadian Academy, Grey and Gold, (No.20) ; The Joy Of Living. CNa, Si'; The Tiff, (No, 221, This exhibition wïs held in lieu O+ the Feztival of Empire, Crystal Palace, London, which had been cancelled due ta the death o-f King Edward VI1 in 1910, 1910 Montreal. Royal Canadian Academy of Arts. 33 bnnuaf Exhibition, Opened, 24 November, Art Association O# Montreaf Gallery. Hother and Child, (No- 33)- 1911 Montreal, Art Association of Montreal, 9 March-l april, 27th Annual Exhibition, Young Girl, (No, 49) 3150; Edition De Luxe, (No. 50) 8250; Pippa Passes, (No- 51i 8EiO. 1911 Toronto, Ontario Society of Artists 39th finnual Exhibition, 31 March - 29 April- Portrait of Hy Father (No. 30); Portrait of Hy friend (No- 31); A Lily of Florence (No. 33); Goodbye Surrer (No, 3;). 1912 Toronto. Ontario Society of Artists 40th Annuai Exhibition, 9-30th March, A Good Listener (No. 32); Girl With A Bawl (No- 333, with illustration. 1912 Toronto, Canadian National Exhibition, Department o+ Fine arts. 24 August-9 September. Spring Song, 1912 London, Ontario. Art Loan Collection, Western Fair. September, Girl with Green Bowl, (No. 18) . Loaned by Mr. John Marr, Ottawa- Royal Canadian Academy of Arts, 34th Annual Exhibition, Opened, 28 Navernber. Victoria Mernoriai Museum, The Critic, {No, 411 ($500); The Uhite FIower, (No. 42); The Story, (No. 43). Minnipeg- Royal Carradian Acadeby of Arts Exhibition of Pain tings, Winnipeg Induitrial Bureau. Open~d, 16 December, Winnipeg Museum of Fine Arts, The Sprinq Song, (No, 26); The Threshofd, (No. 27); Hother and Child, (No, 38). Montreal, Art Association of Montreal, 26 March-16 Apri l. The Spring Song, fNc, 45) $300. Toronto. Ontario Society O+ Artists. 41st Annuai Exhibition. 5-26 ApriL, Husic, (No. 201 ; The Story, (No. 21 ) ; The Threshof d, (NO, 22). Tormnto, Canadian National Exhibition. Department of Fine Arts Exhibition, 23 August-8 September. The Spring Song, (No. 2691, ($300); Hather and Chifd, (No, 270), ($350)- London, Ontario. Western Fair fine Arts Exhibition. 5-1s September-. The Uhite FIower, (No. 161, (Not for sale) ; Reverie, (No. 421, No price given, Montreal, Royal Canadian Academy D+ Arts, 35th Annual Exhibition, Openea, 20 November. Afternoon, Venice, (No, 46) ($175); The Guest, Venice, (No. 47) (8250); Susmer Horning, (No- 48) ; Vis Roberto Browning, The Little Street in Asofo Where Pippa Uorked and Sang, (No. 49) (6l5O): A Byway, Venice, (No, SOi ; The Critic, (Nu, 51 1 . London, England, Dominion and States Exhibition of the Rayai British Colonial Society of Artists- Quay Tomn CHinehead 3. Canada. Patriotic Fund Exhibition. Qrganized by the RCA, 8Y works toured Canada +rom Winnipes to Halifax, to raise funds +or the Patriotic Fund- Opened, Tot-onto. 30 December. Sprr'ng Song (No. 31. Minnipeg, Winnipeg Industrial bureau Exhibition, Winnipeg Museum o+ Fine Arts- 19 January-March. Af ternoon, Venice, (No. 19) ($175)- Toronto. Ontario Society O+ Ar-tists, 14 March-Il Apri1. The Guest, (No. 26) (8200): An Awakened Chord, !No.371 (6700);The Son and Heir, (No. 28) ($250); April (No- London, England. The Royal Academy of Arts. 146th Annual Exhibition. Miss Hastings, (No. 178; Kathleen Carlyle, (No. 650) . Toronto, Canadian National Exhibition, Eepartment of Fine Arts Exhibition- 29 August-14 September, The Guest, Venice, (No. 251 1, ($175): An Awakened Chord, (Na. 2521, (85001 . Montreal. Art fiçsociation of Montreal, 26 March-17 April, April, (No, 62) $150; The San and Heir, (No- 63) 3110; Under #y Uindow, (No, 64) 650, London, England- The Royal Academy of Arts, 147th Annual Exhibition, Portrait of a Friend. (No. 146) , iondon, England, The Royal Academy o-f Arts. 148th Annual Exhibition, Vaughter, (Na. 5901 ; Silence, (No. t3Sj: Brass and Copper, !No- 953)- Montreal. Royal Canadian Acaderny o-f Arts. 38th Annual Exhibition. Opened, 16 Novemner, Art Association a+ Montreal Gallery. Roses and Copper, (No, 29); Nasturtiums, (No. 30). Toronto, Ontario Saciety o+ 6r-tists. Forty-tifth Annual Exhibition. March, Portrait Group, (No. 193 - Toronto. Canadian National Exhibition, Department of Fine Arts Exhibition. 25 August-10 September. Brass and Nasturtiurs. (No, 126). ($501, Vaughter, (No. 1371. (8150). London, England. Commissioned by the Canadian War Mernorials Fund to paint a portrait of Juiia Drurnmond, the Assistant Commissionet- of the Canadian Red Cross. Portrait of Lady Vrurmond (1918). Halifax, Nova Scotia, An Exhibition of Paintings by Cana~ianArtists Loaned by the Mational Gallery of Canada, Nova Scotia Museum a+ Fine Arts, Jan, 1918-Jan- 1919, Afternoon, Venice, (No, 4). London, England. Dominion and States Exhibition of the Ruyal British C01onial Society o+ Artists. A CaIL to Service: Reflecti~ns;The Song of the Kettle. Toronto, Canadian National Exhibition. Department u+ Fine Arts Exhibition, 26 Auiguçt-7 September, The Yelloér Rose, (No. loi) ; Roses and Brass, (No. 102) - 1918 London, England. Peate and Uar Exhibition, (c,December 19181. Carlyle exhibits 8 paintings, 1919 London, Enqland. Canadian Mar Heeoriais Exhibition- January and February 1919, Royal Acaderny of Arts. Burlington House, Ficcadi Zly. Lady Drummond, (Na, 133) , 1919 New York City, Canadian War Meaurials Exhibition, IO June- Si Jufy, Anderson Art Galleries, Lady Vrurrond, (No, 132). Exhibition traveled ta New York City, Toranto and Montreal a+ter this Sate. 1920 Tot-onto. on tari^ Society o+ Artists, January-February, Lady Betty, Loaned by H-Hg Fudger, 1920 London, England. The Royal Academy o+ Arts. Fruit, (No. 440)- This painting was "sold opening day" and the artist "was comrnissioned to paint another along the same iines." Artist in letter to Russell Carlyle, 1921. Collection MPAG- 1921 London, England. The Royal Academy O+ Arts- Still Fife, !No. 64). 1921 Hull, England. Artist exhibits 5 painting5 (titles unknown) . Hull Art Gallery. 1922 Toronto. Ontario Society of Artists, February. Lady Betty, (Loaned by H,H, Fudger) ; Badinage (ç. i9GZ), (Laaned by the artist). 1923 Grtist dies. 1924 Ottawa. Second Exhibition of Canadian Uar Heaurials- 18 January-33 Ap ri l . The Nat ional Gai let-y O+ Canada- Lady Druarond f1918), (No. 16). 1924 London, England. Wembley Park, British Empire Exhibition. April to Oct, 1924. Grey and Gold (c,iqlO), (No. 36) - Laaned by the NGC. 1925 Toronto. A Heaorial Exhibition of the Paintings of the Late Florence Carlyle, A,R.C.A, The Jenkins' Art Galleries. 26 May-6 June. 86 Titles, * The main sources for this listing are +ound in: Allaire, Sylvain- "Les Canadiens au salon o++iciel de Paris entre 1870 et 1920, sections peinture et dessin-" Journal of Canadian Art History, 4, No. 2 (l?77/i978),141-154- Graves, Afgernon. The Royal Academy of Arts-A CornoLete Dictionary of Contributors and their work from its foundaeion in 17tf *O 1994- Vol. 1. London: Henry Graves, 190&, Levy, Fiorence N- Aaerican Art Annual. Vols. 1, 3-6. New York: Macmillan and American Art Annual, 1898-1908- McMann, Evelyn de R- Hontreal Huseua of Fine Arts formerly Art Assaciation of Hontreai, fpring Exhibitions lS80-1970. Tor~nta: University O+ Toronto, 1958. ------Royal Canadian Acade~yof' Arts= Exhibitions and Henbers, ISSU-2979- Toronto: University of Toronto, 1981- Wistow, David. Canadians in Paris 2867-1314, Taronto: Art Gallery of Ontario, 1979. Annual exhibition catalogues of the WAAC. RCA, AAM, OSA, TIE/CNE, 1885-192s. APPENDIX 3 TABLES SHOWING FREQUENCY OF EXHIBITIONS 1890-1923 fables 1. 2 and 3 plot Carlyle's participation in Canadian, American and European exhibitions +rom 1890 ta 1923. Her significant presence in Canadian exhibition venues began in 1895 (2 exhibitians!, whife the artist was still a student in Paris, however her +requency of exhibition is stronger between 1897 anu 1898, the years just Solfowing her return ta Canada (8 exhibitions). (Table 1) The year 1899, when Carlyle feft Canada +or New Yorqk to set up her Greenwich Village studio, shows a significant drap in her exhibitimn +requency in Canada. Hawever, the artist restabl ished a strong presence in Canad ian exhibitions the +oL?owing year (19001, and the years 1900 tu i90s see a total of 14 Canadian exhibitions. In iT(34, the year fallowing her Osborne calendar prizz and the awarding a+ a contract with this New York based company, Carlyle re+ocused her career toward American exhibition venues and that year exhibited with the prestigious Society of American Artists is New York City. (Table 2) This patte:-n continues u~tilabaut 1SlC. From 1904 untif i?OS the artist concentr-ated her exhibition efforts in the United States and dut-ing this period she participated in a total O+ only 5 Canadian exhibit ions- In contrast, Carlyle exhibited works in at least 7 Amer-ican exhibitiûns during the same period. In 1910 Carl yle turned her exhibition ef +arts back toward Canada and het- f r~quencyjumped from zero in 1909, to S in 4~1~0. -J with exhibition numbers holding steady at 2 in 1911, anu esk king at 4 (i9l2! . 5 C l?is), and 5 (1914) in subsequent years. Whi le Carl y 1 e 's SCA exbib i t ions outnumber al l other venues at a total a+ 14, during the years of her pra+essional career (1890-19331, this is ciosel~followed by the OSA and CNE exhibitions at 12 and 11 reçpectively. The AAM was also a .signi+icant venue for the artist with a total of 9 exhibitions during these years. In cornparisan, other Canadian venues such as the WAAC and WOC were significant only during the early years of her pro+essianal career. In 1914, ref lecting the artist's move ta Enpland, Ca-lyfe's fr-equency in Eri tish exhibitions rises, rnost notahly with the Rn, (Table 3) SignificantIy, however, this change was not re-flected immediat~lyin her nümber of Canadian exhibitions. In 1914 she exhibited in 5 Canadian venues, the same total as in 131Z. One year later this number had dt-opped to 1 and al thaugh the art 1st maintained a presenca in Canadian exhibitions until her death Ln 1922, her incidence of exhibition remains low. While this listing rovers only the artist's known exhibitions it reveals a clear pattern O+ initial intense +ocus on Canadian venues during the late L890's, a braadening of +ocus to include Amer-ican venues during the early yearç O+ the centut-y, with a marked drap in Canadian exhibitions during the years of her greatest American activity and success. A dramatic change occurs in 1910 with the artist's move bask to Canada, and the highest +requenry of exhibitions occurs in Canada between 1912 and 1914. During the years O+ the First World War Carlyle gradually exhibited with Zess frequency and in a more restricted number of venues, in part due to the difficulty cf access and the artist'a own involvement in war wark. After the war Carlyle's exhibition activity in England gradually increaseb, however, as a result O+ the artistes ill health this pattern changed drastically in 1932. TABLE 1: CANADIAN EXHIBITIONS AM PF DE WB WAC OSA DES TIEKNE RCA WAAC WF TABLE 2: MERICAN EXHIBITIONS BUF CHI FA KNO PENNA RAC SAA ST. L SUT TfiBLE 3: EUROPEAN EXHIBITIONS DSE HULL LP PSALON RA CANADIAN WONEN EXHIBITORS IN THE PCIRIS SALON 1890-1896 The proportion of Canadian women exhibiting in the Salon out of the total number of Canadian exhibitors during the years 1890- 1896 are as follows: 3 out of 9 Mattie Dube Harriet Ford Margaret Houghton 1 outa+ 6 Mattie Dube 1 out cl+ 4 Mattie Dube 3 outof S Sarah blackstone Florence Carlyle filice Graut Florence Carlyle Mattie Dube Sarah Baldwin Hafden Hannah Rusk 1896 1 outof 8 Hannah Rusk In theçe seven yeat-so out ai a total of 44 Canadian exhibitors, 13, or apprmximately 29.5 %, wet-e women. * Source: Sylvan Allaire, "Les Canadiens au Salon Wficiel de Paris entre 1590 et 1910: sections peinture et dessin," The Journal of Canadian Art History, 4 (1977/78): 145-148. WOMEN ART EDUCATORS IN CANADA C-1900 The main sources for the fullawing listing are found in the National Council of Iidamen, Wasen of Canada: Their Life and Hork C19C1!, and F. Levy's herican Art Annual, v. 3 (1900-1901), which includes a chart listing instructors in Canadian and bmerican art schools. Additional information may be found in art columns of the period, including, Jean Grant's "Studio and Gallery", oublished in Saturday Hight in c.1898-1900, and the column "About Town", published in the To~ontUGlobe in c.1887. Position / Institution / Membership Eellefeuille. Flora Teacher of art, Ursuline Canvent, ihre~Rivers, Quebec. Carlyle, Florence Teacher of art, classes in her studio, Masonic Temple, London, Ontario, and at Havergal Ladies' Col lege, Toronto (cg1877-8). Clarke, Emma Teacher of art, Albert Caf lege, Belleville, Ontario. Cleland. Miss A. Teacher of drawing- Montreal Art Assaciation Schoal, 23 Phillips Square, Montreal. Cockshutt, Mrs W-FI ~eacherof woad-carving, Brantford Ladies' Callege, Brant+ord, Ontario. Dignan, Mrs Mary E. Teacher of art at the Assaciatea Artists' School of Art and Design, Young Street Arcade, Toronto. c, 1887. Organized Art Çtudios O+ Moulton College in 1889. Director Ar-t Department, Mou1 ton Col lese. McMaster University, Tot-onto, c, 1901. Teachet- o+ art, Rol leston House, Toronto, c.1901. Teacher of =il and pastel painting, studio studio, Dundas St,, London, Ontario. Duf resne, Pernadot te Teacher O+ artg Ursuline Convent, Three Rivers, Quebec= Egan. Alice M- Teacher of china paintins. Victoria SchooL o+ Art and Desion, Barrington and Sackville Streets, Halifax, N,S. Fraser, Margaret Teacher a+ art, Hamilton Art School, Hamilton, Ontario, Galbraith, Ciara E. Teachet- of water colours and ceramics. Hamilton Art Schoal, Public LiSrary Building, Hamilton. Dntaria, Member WAAC; Presîdent, Hamilton Branch of WAAC. Geeson , Jean Teacher a+ oïl, water coior, çastel, and china painting, classen held in her studio, Du++erin Avenue. London, Ontsrio. Yrahan, Miss Teàcher O+ art, Victoria Schoml o+ Art and Design, Halifax N.S. Green, Miss Teacher a+ art in Senior School +or Eoys and Girls, McGill Narrnal Schoul , Montreal, Gunn, Emily M. Teacher o+ art, studio, Dundas Street, London, Ontario (c. 18%). Hannaford, Edith Teacher o+ china painting, studio. 97 Eloor Çt, West, Toronto. Hat-d ie, Miss Teachet- O+ embraidet-y and lace- wark. Brandon Col lege and Brandon Convent, Brandon, Manitoba. Hardie, Mrs Teacher o+ embroidery and lace- work. brandon Col lege and Brandon fonven t , Brandon, Man i toba. Harrisun. Kiss Teachet- o+ china painting. St. Margar-et 'o Col lege, Toronto, and at her studia, 578 Huron St., Toronto. Hill, Miss Teacher a+ art. Halifax County Academy, N,S. Ireland, Mabel Teacher of painting, Hami1 ton Art Schoof, Hamilton. Ontario. James, Miss Teacher of art, Bay's High Schoal of Montreal, Jones, Eiss. t. A. M. Assistant teacher of art, Hellmuth College, London, Ontario. Kenley? Mrs. Teacher of "art needle wark". St. Margaret's Callege? Toranto. Ki tchen, Mrs. Teacher of china painting, St. Margaret 's Col1 ege, Toronto. Le Moyne, Berthe Teacher of art, Art Association School, Montreal, c.1904. Long, Miss Teacher of art, Bt-ant-ford Caflegiate fnstitüte, Brantford, gntario. Martin, Kiss May Teacher of art, Bloar Street Presbyterian Col lege? Toronto- Mattice, Marion E. Teacher of art, Hamilton Art School, Hamilton, Ontario. McConnell, Miss M. Car-; Teacher- ~f art, private students ifi her studio, 3 King Street East, Toron to. McGilfivray, Florence Teacher of art, Ontario Ladies' (iS64-1938) Cal lege, Whitby, Ontario. feëicher of art, Mount Al1ison Ladies' College, Sackville, N- b- - Art director and ins+ructor of drawins and painting, Grt Department Çt, Mat-gat-et 's Col lege, Toron tu. Nainby, Miss Teacher o+ art, Havergal College, Toronto, Teache? O+ art. Art Association Çchoal . Montreal , c, 1904. Teachet- o-F art, Mount Allison Ladies' ColLege, Sackville, N, b, , Patterson, Miss Teacher of art in Public Schools and "Normal Schaol Course" o-f teacher educat ion. Minnipeg, Manitaba. Philli~s,Mary Martha Principal and Founder, School O+ ~i8Zi&-i937> Art and Applied Design, Montreal- President , Montreal Branch WAAC, Co-+ounder and + irst presiden t, Canadian Handicrafts Guild, 1905, Schreiber, Charlctte iearher of +igure drawing, ail (lSS4-19Z23 painting and drawing +rom the antique, Ontario Sçhocl O+ Art, ci877 to 1380. Sernple, Miss Superintendent and teacher of art, Toronto Public Schools- Shaner, Miss Instructor in Art Department- Churrh Schoof +or Girls, Windsor, N-S, Simister-, Mr5 Teachet- O+ art, McGil f Nornal School, and at Girl's High Çchooi of Montreal, Montreal. Teacher of art. Brandon Col lege and Brandon Conv~nt . Teacher a+ art, Halifax Ladies' College, fiaiifa;<, N,S, Taught art at the Victoria School uf Art and Design, Halifax, c. 1910. Smith. Naud B. Teacher of art, Metropol i tan Schoal of Music, Toronto. Tu1Iy, Louise Bzr~stot-d Teacher of wood carving and leather wark. Central Ontario Çchool of Art and Industrial Design, 165 King Street West, Toronto- Wadçworth, Mrs Teacher of "art needle work", Ct. Margaret's College, Toronto. Wait, Miss Teacher O+ elementary and technical art classes, china painting and embraîdery at the Associated Artists' School a+ Art and Design, Young Street Arcade, Toranto, c, 1887. Westmarott, Miss Principal. The Associated Urtists' School o+ Art and Design, Young Street Arcade, Toronto, c. 1887- Williams, Mrs A.R. Teacher of wood-carving, St. Margaret's College, Toronto- Windeat, Emma S. Teacher O# art, Glen Mawr, Tcronto. (d. 1926) Van den broeck, Mlle. C. Teacher of art, Hellmuth Col lege, London, and Director of the 6rt Department, Harding Hall, London, Ontario, Teacher a+ ail and water color painting at her studia, Princess Avenue, London (c,L896i. APPENDIX 6 KNOEI)LER8S GALERIES' EXHIBITION OF PAIN7INGS BY WOHEN ARTISTS: LIST OF EXHIBITING ARTLSTS Exhibition of Pafntings by Uomen ktists, Knoedler's Galleries, 5th Ave. and 34th St. New York, Aprif 20th to May 2nd inclusive, 1908. Bow~r,Lucy Scott Upton, Ethelwyn Browne, Mati lda Wheeler, Janet Burd, Clara Wigand, A. Albright Carlisle, Mary Helen Wilmot, Alta E, Carlyle, Florence Winckler, Adele Close, May Lewis Wood, Virginia Coman, Charlotte B, WoolfoLk, €va M. Cooper, Emma Lambert Wyant, A.L. Craw+ord, brenetta H. Dewey, Zulia Emmet, Ellen Emmet, Lydia Field Fisher, Anna Foote, Mary Fry, Georgia iimken Hore, Ethef Hunter, Lisbeth Johnson, Content Knox, Susan Ricker Lamb, Ella Candie Len ique, Andre Mason, Maud Macauley, Miss. MacChesney? Clara NicholLs, Lydia Holmes Nicholls, Rhoda Holrnes Parker, Cara Parrish, Clara Weaver Penman, Edith Phelps, Helen Watson Flatt, Alethea Hi11 Fowers, Mar ion Randoiph, Grace Fitz Eichards, El la Rockwel 1 , Bertha Saunders, Bertha Srhi: Le, Alice Scott, Mrs, E. M. Sewal 1 , Amanda Brewster Simpson, Charlotte Helen Çnead, Louise Willis Çnel L , Flot-ence Francis Stevenson, Edith P. Swintan, Marion Turner, Helen M. Source: Exhibition of' Paintinys by Wooen A~tists(Knoedler's Galieries, 1908) Library Archives, Knoedler & Ccmpany, N.Y. ILLUSTRATIONS Pig 1.2 Pig 2.2 Pig 3.2 Pig 3.3 Pig 3.4 Fig 4. t Sig 4.3 Fig 4.6 Fip 4.7 Fig 4-15 Fig 4.16 ARCHIVAL SI#ERCES Canadian National Exhibition Archives, Toronto, Ontario Exhibition Catalogue Files London Fubiic Library (Plain Branch), London, Ontario tondon Ham Collection Woman's Art Club of London Clip~ingFile D.B. We?dan Library? University of Western ûr~tario, London, Ontario Regimal Hiçtory RM~ Exhibition Catatague Files Wuadstock Fsbl ic Art Ga1 lery, Woodstock, Ontario Artist Files Carrespondence of Florence Carlyre 1914-1923 Women's Art Association of Canada Archives, iarmta, Ontario Women's Art Association o+ Canada Scra?boaks Yiscellaneous Clip~ingsFiies c.IW0-i900. Adler, Kathleen, and Tamar Sarb. Berthe Horisot. Oxford: Phaidan, 1987. Allaire, Sylvain. "les Canadiens au salon officiel de Paris entre 1870 et 1910, sections peinture et dessin." Journal of Canadian Art History, 4, No, 2 (1977/1978), 141-154. Arts and letters Ciuù of Toronto. The Year Book of Canadian Art. London: J.M. Dent, 1913. Baker, Victoria. Paul Peel: A Retrospective 1860-1892, London, Ontario: London Regional Art Gallery and Historical Museums, 1986. Bayer, Fern. The Ontario Collection. Markham, Ontario: Fitrhenry and Whiteside, 1984. Beaux, C~cilia. Background uith Figures. Boston and New York: Hoüghton Ni++ f in Co., 1930. Beckett, Jane, and Deborah Cherry, eds. The Edwardian Era London: fhaidon Press and Barbican Art Gallery, 19E7. Benezit, E., Dictionnaire critique et docunentaire des Peintres, Sculpteurs, Dessinateurs et Graveurs- Paris: Librairie Grund, 1976. bice, Clare. Eva Bradsha~.London, Ontario: London Pub1 ic Library and Art Museum, 1970. Bryant, Keith. William Herritt Chase: A Genteel Bohemian. Cofumbia and London: University of Missouri Press, 1991. Bell, Margaret. "Women and Art in Canada." fveryuoman's iiorld, Toronto (June 1914): 7, 15, 30. Sroude, Narma, and Mary D. Garrard, eds. Feninisr and Art History: Questioning the Litany. New York: Harper and Raw, l%2. Buchanan, Donald. The Growth of Canadian Painting. Toronto: Collins, 1955. Butlin, Susan. Florence Carlyle. bodstock, Ontario: koodstock Public Art Gallery, 1993. Canadian National Exhibition / Toronto Industrial Exhibition. CataLogues of the Department of Fine Arts, 2879-1923. Canadian National Exhibition Archives, Exhibition Catalogue Fi le, Toronto. Carlyle, Florence. "Mary's Child." Time and Ede. London, England, 4 (23 Novemher 1923): 1177-1179. Casteras, Susan. Images of Victorian Homanhood in Engi ish Art. Toronto and London: Rütherdot-, Mad ison, Teaneck, Fairleigh, Dickinson University Press, 1987. Catalogue of the British Empire Exhibition: Canadian Section of Fine Arts. Wembley, England, 1925. Charlewarth, Hector. "Picdures by Florence Carlyle: Mernorial Exhibition of Works by a Famous Canadian Painter. " Saturday Might, 6 June 1925. Chadwick, Whitney. Woren, Art, and Society. London: Thames and Hudson, 1990. Cherry, Deborah. Painting Women: Victorian Homen Artists. Londcn: Routledge, 1993. CoLgate, Wi lf iam. Canadian Art: Its Origin and Development. Toran ta: Ryerson, 1943. Collins, Georgia, and Renee Sandef l. Uomen, Art, and Education. Reston, Virginia: National Art Educatio~ Associatian, 1984. Deeks, Miss. R. Historical Sketch of the Homen's Art Association of Canada Toronto, 1912. Edgertm, Giles. "1s Ther~A Sex Distinction In Art ? The Attitude of the Cri tic Toward Women's Eshibits. " The Craftsman 14 (June 1909): n.p. Effigy Cpseud.1, "Pfiss Florance Carlyle." Saturday Night, b (18 March 18931: 15. Falk, Peter Hastings, ed. The hnuaf Exhibition Record of the Pennsylvania Acadeay of the Fine Arts 1876-1913. Vol 2. Madison, CT.: Saund View Press, 1989. . Uho éras #ho in Aaerican Art. Madison, CT.: Sound View Press, 1985. Farr, Dorothy, and Natalie Luckyj. From men 's eyes: Yomen Painters in Canada. Kingston, Ontario: A~nesEtherington Art Centre, 1975. Fehrer, Catherine. "New Light on the Academie Julian and its Founder (Hodcfphe Julian)." Gazette des Beaux Art 103 (May- Jun~19841: 207-216. "Literature, Life, and Art." Toronto Daily Star, 30 May 1925, p. 7. Ford, Harriet. "The Royal Canadian Academy a+ Arts," The Canadian Magazine Z (Way 1894): 45-50. Gagen, Robert F. "Industrial Exhibition 1878-1315." "Ontario Art Chronicle" MS, n. d. Exhibition Catalogue File. Canadian Natianal Exhibition Archives, Toronto. Garb, Tamat-. Women Impression ists. Oxford: Phaidon, 198t. Gerrish Nunn, Parnela. Victorian Women Artists. London: The Wamen ' s Pr~ss. l987. Gualtieri, Julia. "The Woman as Artist and as Subject in Canadian Painting (1890-1930): Florence !hr?yle, Laura Muntz Lyali, Helen McNiccll." Master's thesis, Queen's University, 1989 Graves, Aigernon. The Royal Academy of Arts-A Complete Dictionary of Contributors and their wrk from its foundatiun in 1767 to 1904. London: Henry Graves, 1906. Hammond, M.O. Painting and Sculpture in Canada. Toronto: The Fqerson Prcss, 1930. Harmm, Carole, ed, Byron Harmon Hountain Photographer. Banff, Alberta: AF titude Publishing, 1992. ----- . Great Oays in the Rockies. Toronto: Oxford University Press, 1978. Harper, 3. Russell. Early Painters and Engravers in Canada. Toronto: University of Tormto Press, 1970. -. Painting in Canada: A History, 2d ed. Toronto and Buffalo: University of Toranto Press, 1977. Harris, Ann Sutherland, and Linda Nochlin. Aiomen Artists: 1550- 1950. New Yark: Alfred A. bop+, 1976. Heggie, Grace, and 6ordon Adheads. An Index tu Saturday Hight: The first Fifty Years, 1887-1937 Toronto: Micranedia ttb., 1987. H~ller,Nancy. iloaen Artists: An Illustrated History. New York: Abbeville Press, 1987. Heiland, Janice. Review of By A Lady. Sy Maria Tippett. The Journal of Canadian Art History 15, no.1 (1994): 128-136. Hill, Charles C., and Pierre B. Landry. Catalogue of the National Gallery of Canada, Ottaua, Canadian Art, Vol. 1. Ottawa: National Gallery of Canada, 5988. Hills, Patricia. Turn-of-the-Century Aaerica: Paintings, Graphies, Photographs 1890-1910, New York: Whitney Museum of American Art? 1977. Humer, William Inn-. Robert Henri and His Circle. Zthaca and London: Corneil University Press, 1969. Hoopes, Xhnelson F. 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